By Matthew C. Haislip, D.M.A.

In the wake of the global COVID-19 pandemic, we musicians found ourselves facing months ahead with an end to practically all live performances. I was thankful to be able to continue to work by teaching my university classes and horn students in an online format, but so many other musicians were not as fortunate. It has been such a devastating time for so many, and my heart goes out to all of those who have been struggling.  

I decided to make the most of the time I was afforded to seek to become a better musician and horn player. While I participated in creating some recordings of socially distant chamber music, I also knew that I needed a daily goal. As an everyday rule in the past, I have mainly focused my practice on fundamentals, different warm-up routines, upcoming repertoire, and a few favorite Kopprasch, Gallay, Kling, Bordogni, and Fearn etudes. I own stacks of other etude books, but I had not systematically worked through entire books at a time since my undergraduate days.  

In the back of my mind, I knew that one day I needed to complete Maxime-Alphonse. I had spent a lot of time in book one, but I had never worked through the other books completely. I decided that this time of social distancing was the perfect opportunity for the entire set of 200 etudes. This undertaking proved to be the most rewarding time of practice that I have ever experienced on the horn. I perceive that I am an entirely different horn player, having worked through these books. My sight-reading skills are better, and I feel much more confident in approaching what I would consider to be nearly “impossible” literature. My aural awareness, articulation, sound, rhythm, dynamic control, and technical facility have all been sharpened by these studies.

Finishing all six books took nearly 20 weeks for me to complete from early spring through the summer. I marked each etude that I found to be especially challenging or helpful to return to later. I simultaneously worked on Bach Cello Suites, Bordogni vocal studies, stopped or F horn-only Kopprasch, and some Schantl exercises to balance out my practice. With the Bordogni, I played the treble clef version and transposed them to an upward key, a downward key, and down an octave. I learned the value of studying Bordogni in various octaves from my undergraduate teacher, Michael Morrow. Practicing Bordogni this way is an incredible endeavor for developing a lyrical refined approach on the horn, so it balanced out my practice well.

Depending on the standard one holds one’s self to, there are difficult etudes in each book of Maxime-Alphonse. These etudes have endless applications. The detail of articulation and dynamic markings alone provides opportunities for intense work on extremes. For me, the virtuosic etudes in books five and six had to be played slower than marked and broken down into one measure at a time. I chose not to play the numerous repeats marked in book six, and I made sure to take breaks often to avoid injury. Interestingly, I found that some of the studies in book six were no more impossible than studies in earlier books, but I would say that I got the most benefit out of the first five books.

I had a lot of fun practicing these studies. They are so well-written for our instrument. I would attribute the utility of Maxime-Alphonse etudes to their creative musical material, stylistic diversity, technical demands, and sudden shifts in register and dynamic. The delicate studies in book two, for example, are fantastic challenges for developing ultra-finesse. The content in these books tends to be less predictably repetitive than other etudes, so they keep the player on their toes. Attention to detail is key to successfully performing them. There are numerous stories of renowned horn teachers who have demanded strict care with the details in all aspects of these studies. Many virtuosos have pointed to their study of these etudes as contributive to their development.

The French tradition has produced so many similarly invaluable studies with rich musical content and practical applications for the horn. I plan on working through Barboteu’s etudes in the near future. There are several books of Gallay etudes that I would like to play through as well. Since finishing Maxime-Alphonse, I have completed both volumes of Müller’s 34 Studies and Belloli’s 8 Studies, and I am working through Kling’s 40 Studies. I have returned to Maxime-Alphonse to continue to refine the etudes I have marked for lifetime practice; a technique I picked up from my horn teacher Michael Morrow, who picked it up from his teacher Christopher Leuba, another advocate of Maxime-Alphonse. In 2021, all six books of Maxime-Alphonse will be in the public domain. I look forward to incorporating these wonderful books in my teaching. If you are seeking a rewarding challenge, I highly recommend working through our fantastic catalogue of etudes, especially Maxime-Alphonse!

Best wishes to everyone in this difficult time!

Matthew C. Haislip is a hornist, teacher, and composer currently serving as Assistant Professor of Horn at Mississippi State University. He is a founding member of Quintasonic Brass and has performed with such ensembles as the Cincinnati Opera, Opera Naples, and Omaha Symphony. His recent publication Dueling Fundamentals for Two Horns is published by Mountain Peak Music. Dr. Haislip holds degrees from the University of Missouri-Kansas City, University of Cincinnati, College-Conservatory of Music, and Texas A&M University-Commerce. His website may be found at www.matthaislip.com.

Dear Hornists, Composer Friends — and Friends of Composers:

During the past four decades this project has supported the composition of hundreds of new works for the Horn.  Composers and Hornists have had a great ongoing relationship dating back — at least — to Wolfgang Amadeus Mozart and Joseph Ignaz Leutgeb.  During my presentation at the recent Virtual International Horn Symposium, I noted additional collaborations between Hornists and Composers - including some of our recent winners. Please see the video on the Composition Contest at the 2020 Virtual Workshop!. So, if you are a Composer, talk to your local Hornist, and if you are a Hornist, talk to your local composer.  We are encouraging your collaboration as you submit new works to this year's Composition Contest of the International Horn Society.

For more information, rules, and electronic submission see the Composition Contest Portal at The International Horn Society Website. This also provides information about notable works from recent past contests:

CORdially,
Randall E. Faust
International Horn Society Composition Contest Coordinator

Please Post!

Contact your favorite nearby composer
2020 International Horn Society Composition Contest
Prizes: $1250 for Each Division

1. The Featured Composition Division:  Compositions in this division are works of moderate difficulty.  “In the featured DIVISION, the horn part should be playable by the entire spectrum of Hornists within the International Horn Society:  Students, Amateurs, and Professionals.  It should have musical content that would have the integrity to honor the professional hornists—yet within the pitch and technical range of the panorama of student and amateur players.
2. The Virtuoso Composition Division:  Compositions in this division have no difficulty limitation and are from one of the following instrumentation categories.

INSTRUMENTATION

FEATURED DIVISION:

• Compositions for Horn Ensemble (two or more players, all horns)   

VIRTUOSO DIVISION: 

• Solo Horn featured with large ensemble. (The large ensemble may include any group of electronic, acoustic instruments and/or voices.)
• Horn with chamber ensemble of three or more performers (one horn part only)  (The chamber ensemble may include any combination of electronic instruments, acoustic instruments and/or voices.)
• Compositions for solo horn and keyboard instrument. (Keyboard instruments may include piano, harpsichord, organ, electronic keyboard, or mallet percussion.)
• Compositions for Solo Horn (alone/unaccompanied) 
• Compositions for Solo Horn with Vocal Ensemble

For more information, rules, and electronic submission see the Composition Contest Portal at The International Horn Society Website.

ENTRIES MUST BE RECEIVED by DECEMBER 1, 2020

If you have any questions about any of the rules, write for clarification: re-faust@wiu.edu.

I began studying the horn at the age of 11 in North Carolina. I first fell in love with the sound of the horn by watching film music. It was without a doubt I wanted to play the horn when I joined band in the 6th grade. I studied Music Education at Wingate University in North Carolina and was encouraged to continue my Master’s in Performance. I fell in love with the Louisiana Culture and sense of family and decided to attend Louisiana State University. I moved here for my Master’s and just finished my Doctorate! Since living in Louisiana, I have learned about myself and grown as a person. I have a deeper passion for performing chamber music, Alexander Technique, and teaching.

Louisiana has a very unique and rich culture. The state of Louisiana has been through a lot but always pulls together and works together to grow. This is the same in the horn community as well. Horn players in Louisiana stay connected from New Orleans to Monroe and from Lake Charles to Baton Rouge. Music in Louisiana is as diverse as the people who live here. Whether you are interested in Classical, Jazz, Folk, or New Music it can be found in Louisiana. We are very fortunate to have high quality performers, teachers, and professors throughout the state! I am grateful for all Louisiana has brought me and I am glad to be the IHS Area Representative for Louisiana!

Dr. Centria Brown is the current adjunct horn instructor at Louisiana Tech University in Ruston, LA. Alongside teaching at Louisiana Tech, she has her own private horn studio in Baton Rouge, LA and performs throughout the state of Louisiana. Dr. Brown has performed with the Baton Rouge Symphony Orchestra, Acadiana Symphony Orchestra, Jefferson Parish Arts Center, Opera Louisane, Louisiana Sinfonietta, Monroe Symphony, and the Louisiana Philharmonic Orchestra.

Dr. Brown is a huge advocate of chamber music. She was a part of the winning Woodwind Quintet, West Chimes Winds, in the 2016 NOLA ChamberFest. Dr. Brown is also a founding member of a Baton Rouge horn quartet, Allumer Quartet, whose mission is to add new music to the horn quartet repertoire.

Alongside teaching and performing, Dr. Brown is an aspiring Alexander Technique teacher. In her second year of her Master’s degree she fell in love with Alexander Technique and began to study privately as a trainee under Patricia O’Neill in Baton Rouge, LA. Dr. Brown was able to assist Mrs. O’Neill at Louisiana State University and in the community. Dr. Brown was able to work on her own Use in her day to day activities and horn playing. This led to the inspiration of her Dissertation, ‘The use of the Alexander Technique as a practice tool for horn performance’.

Dr. Brown recently completed her Doctor of Musical Arts from Louisiana State University under the direction of Seth Orgel. She completed her Master’s degree from Louisiana State University in horn performance and her Bachelor of Music Education at Wingate University in North Carolina under the guidance of Dr. Christopher Griffin. Dr. Brown is grateful for the support of her family who have been a constant inspiration throughout her musical career.

Kristina Mascher-Turner: First of all, thank you so much for sharing your thoughts and inspiration with our international horn community! When did you first become involved with music, and what motivated you to choose the horn?

Gabby Giffords: Music has always been an important part of my life. I loved to sing as a child, and I even got to play the role of Annie in my elementary school play. I started playing the French horn in fourth grade and was initially drawn to the instrument because of its beauty. I didn’t know anything about the incredible music it could create before I started learning it.

KMT: At what point did your other passions or commitments cause you to set the horn aside? Was it a difficult decision to make?

GG: After college, I wasn’t able to keep up with the horn. My first job was at a consulting firm in New York that had me working very long hours, and then I moved back to Tucson to run my family’s tire business, which took nearly 100% of my time. I certainly missed playing, but would often listen to classical music to relax.

KMT: You have been beautifully open with the world about your journey and recovery since your life-threatening injury, and your courage and determination shine forth every step of the way. Still, there must have been times when you wondered how you were going to get through another day. Was there a particular inner dialogue that brought you past those moments and back into your strength? What got you through them?

GG: I believe it is always important to keep moving forward, no matter what challenges life throws at you. While my recovery is still a daily struggle, I have learned so much through this journey, like the importance of making time for the people you love and giving back to your community. I have also found great purpose in my work to end gun violence in America.

I’d be remiss if I didn’t mention how important music was in helping me get through each day. Early in my recovery, when speaking felt impossible, I could still sing parts of American Pie by Don McLean. That really gave me hope, even on the most challenging days.

KMT: What was it that put the horn back into your hands, after so many years? When did you start playing again?

GG: Through each step in my recovery, I’ve tried to challenge myself to do more and regain abilities I once had. My love of music made returning to the French horn a very logical challenge. I started working with an instructor about three years into my recovery.

KMT: Are you studying with a teacher or following any particular method?

GG: I’m working with an instructor who was a professional musician in Germany for thirty years before she retired in Tucson. She wrote me and Mark a letter when she heard I used to play the French horn and offered to help me relearn it. She has been incredible to work with and so patient with me. Like all good teachers, she always pushes me to practice more!

KMT: All horn players, whether amateur, student, teacher, or professional, have times when it drives us up the wall! What has been the most challenging aspect of starting up again for you?

GG: It seems so basic, but the biggest challenge for me was re-learning how to read music. Thankfully, I remembered most of the technical elements of playing.

KMT: Music is one of the greatest tools for healing. What role would you say music has played in your own life, especially throughout your recovery these past several years?

GG: Music has played an incredibly important role in my life and recovery. It has not only helped me keep my spirits up when times are tough, it also helps me express myself when I struggle to find words. Musical intonation has also helped me learn new sentences. In the early days of my recovery, musical therapy was part of my daily routine.

KMT: What music do you listen to at home when you want to feel inspired? What pieces would you love to play yourself?

GG: Whenever I need a burst of energy in the morning, I start my day with 80s music. For inspiration, I usually turn to music from Hamilton. I’ve listened to Hamilton so many times that I know almost all the lyrics. My favorite song to play on the horn is Edelweiss from the Sound of Music. I also love playing anything from Pink Floyd.

Gabrielle Giffords is a former member of the Arizona State Senate and served in the United States House of Representatives. Her life took an unexpected and tragic turn in 2011 when she suffered a grievous head injury from a gunshot wound in an attempt on her life. Since then, her immense courage and openness about her long and arduous recovery is well-documented, and she has continued throughout the years as a political activist and advocate for social justice. Music, and the horn specifically, have played an important role in her life. She is married to former astronaut Mark Kelly and has two daughters. https://giffords.org/