by Caiti Beth McKinney
Hello, horn friends!
This month, I’m shining the spotlight on Dame Ethel Smyth (1858-1944), a British composer and leading figure in the women’s suffragette movement in the United Kingdom. An outspoken woman, Smyth had to fight from the very beginning for her right to compose, since even her own father actively tried to discourage her from pursuing music. She also had to deal with institutional discrimination: when Smyth’s opera, Der Wald, was premiered at the Metropolitan Opera in 1903, the New York Times dismissed her work as “a disappointing novelty…of vaulting ambitions,” despite its incredible popularity with audiences. (Der Wald was, by the way, the only opera composed by a woman to be performed by the Met until 2016.)
Overcoming these struggles, Smyth released an incredible output of music, including a double concerto for horn, violin, and orchestra. This three-movement work is a joy to listen to, combining beautiful, lyrical lines with quick technical passages. It is difficult not to draw a comparison with the more famous Brahms Trio, especially when one performs the piano reduction of Smyth’s concerto, but Smyth’s work is absolutely on par with the former and deserves more frequent performances.
by Ian Zook
Volume 9—Ferenc Tarjáni
We’re returning to Hungary for this month’s album, unearthing a piece lost to time by composer Endre Székely and performed by the fabulous virtuoso hornist Ferenc Tarjáni. The Concerto in Memoriam Anton Webern was commissioned by Tarjáni in 1973 and recorded for the Hungaroton label in 1976.
Composer Endre Székely studied with Zoltán Kodály in Budapest and was well-regarded for his work with and compositions for choirs, although he did also compose three wind quintets in the early 1960’s. This concerto is based on a quotation of Anton Webern’s music, which grew from pedagogical analysis Székely made while teaching. (A more detailed description of the music and the form of the piece is printed on the reverse side of the album jacket.)
Hornist Ferenc Tarjáni (1938-2017) was born in Dorog, Hungary and came to the horn after a broken wrist derailed his violin studies at the Béla Bartók School of Music. From 1958 onward, he was the first hornist of the Hungarian Radio Orchestra, and between 1962-1966, he was a prize winner at the international competitions in Geneva, Munich, and Budapest. From 1975 until his retirement, he taught at the Franz Liszt Academy of Music and has many recordings of solo and chamber music to his credit. He was a founding member of the Budapest Chamber Ensemble and the Tarján Horn Quartet, and a member of the Hungarian Wind Quintet. His musical prominence has been acknowledged by the Franz Liszt Prize in 1965 and 1967, and the Bartók-Pászthory Prize in 2002.
This concerto is certainly demanding for the soloist, as several cadenza passages explore the wide range of techniques possible on the horn. This example, bookending low bass grumbles, leads to a climatic horn call accompanied by chattering woodwinds:
A later section uses the horn as a musical conduit, tying together fragmented choruses of woodwinds, brass, and then strings:
Another long cadenza displays Tarjáni’s incredible range and dexterity as the sustained pedal tones are contrasted by increasing exclamatory interjections into the high range, leading to a soaring high E♭:
While this concerto may challenge the listener through its striking tonality and challenging formal construction, it does have moments of repose and beauty. Tarjáni plays with warmth and woodwind-like clarity as the piece concludes:
If you enjoy contemporary horn solos, find yourself a recording on vinyl of this concerto! Since few of these pieces enter the standard repertoire, it is so important that artists like Tarjáni continue to push the boundaries of our instrument and how it can be used in every sonic landscape. Thanks, as always, for reading Horn on Record!
by Elaine Braun, with Clare Gibson
My journey with the horn began in my second year at the University at Buffalo. Initially pursuing a piano major and voice minor, I later switched to the harp as a minor and eventually made the horn my major, studying under the guidance of Lowell Shaw. Throughout my musical pursuits, I never let go of my passion for singing, actively participating in choruses, and taking on leading roles in musical productions. After completing my studies in music education, I embarked on a career teaching both vocal and instrumental music in local schools.
It was in 1972 that I had my first encounter with the International Horn Society at the Indiana Symposium, and I was hooked! Witnessing the exceptional talent of the best players and engaging in conversations with them made a profound impact on me. The following year, I began teaching at Western University in Ontario. There, I instructed private students, taught an education course for non-players (which taught me valuable lessons about introducing beginners to the horn), and led the horn ensemble, performing music that Lowell Shaw had graciously shared with me. It was during my time at the Avignon Symposium that I became the Representative for Canada to the IHS. A few years later, I was honored to be elected to the Advisory Council where I served as Secretary/Treasurer for several years.
During this period, I also had the opportunity to be an exhibitor at the Hornists' Nest table, either alongside Mr. Shaw or independently. It was a delightful experience as it provided me with the chance to meet horn players from all corners of the world, many of whom were eager to acquire Fripperies. In 1999, I began working at the Buffalo Philharmonic where I held various positions, and after three years of working in the library and serving as a copyist for Doc Severinsen, I moved again to the United States, accepting the position of General Manager of the Maryland Symphony in Hagerstown, Maryland. During my tenure there, I organized a Horn Weekend which included a memorable trip to Walter Lawson's horn-building shop in Boonesboro and performing a prelude to the symphony concert that weekend.
Following my time in Maryland, I moved to Erie, Pennsylvania, assuming the same position with the Erie Philharmonic while also directing the Erie Philharmonic Chorus. Eventually, the time came for retirement, and I decided to settle in Nashville to be a helpful grandmother.
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Nashville Horn Hang
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In 2016, I was re-elected to the Advisory Council, but an exciting opportunity arose when the new position of Membership Coordinator was created. Without hesitation, I applied, and in November 2017, I received a call from Jeff Snedeker offering me the position which I began in 2018. In 2019, I was honored to receive the IHS Medal of Honor Service Award which I cherish. Presently, I engage in various musical endeavors, playing in the Nashville Community Concert Band, singing in the Vanderbilt Community Chorus, and conducting the Nashville Horn Hang. I am proud to have been a member of the International Horn Society since 1972 and eagerly anticipate attending my 45th Symposium in Montréal.
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Nashville Community Concert Band horn section
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안녕하세요 저는 대한민국에서 호른을 연주중인 손승용입니다.
저는 클래식, 뮤지컬, K팝, 트롯트, 방송, 콘서트, 녹음, 대학강의등 다방면에서 활동중입니다
저에게 다양한 장르의 음악을 하는 특이한 제 이력을 소개해달라고 하셔서 처음엔 몹시 당황했습니다. 음악에 장르가 중요하지 않다고 생각했고 호른을 연주할 수 있는 곳이라면 어디든지 가서 연주하는게 좋아서 지금까지 오게 되었습니다.
오케스트라에서 직장생활 하는 것도 좋지만 제 성격에 한곳에서 오래 일하는게 쉽지 않을것이라고 생각했어요.
부끄럽지만 전 슈트보다 후드티를 좋아해서 최대한 정장이나 턱시도 입을 일을 피하다 보니 그런것도 있구요. ㅎㅎ
11살때 처음 초등학교 오케스트라에서 호른을 시작했어요.
오보에, 클라리넷, 트럼펫, 호른 중에서 오래 고민했었는데 호른이 제일 멋있어보였어요~~!^^ (오보에나 클라리넷은 악보가 너무 어려워 보였고 트럼펫은 쉬는 마디 카운팅이 많아서…..ㅎㅎㅎㅎ)
부산예술고등학교 때부터 부산시립교향악단 수석 최영진 선생님께 사사받으며 본격적으로 전공으로 공부했어요. 저를 많이 아껴주시고 이뻐해주시고 잘한다고 칭찬을 엄청 해주신 선생님이셨죠. 모든 생각이 자유롭고 쿨한 멋짐은 선생님의 영향이 컸어요.^^
그리고 Queen 음악에 빠져있는 친구가 음반을 들려줬고 그때부터 클래식도 좋았지만 팝이나 뮤지컬 음악에 관심을 가지게 되었습니다.
한국의 대학 입시가 워낙 치열하다보니 하루 10시간 넘게 악기를 불었어요. 무식하게 연습 했던것 같은데 그래도 그 시절이 그립습니다.
한국예술종합학교에서 마이크 하크로우 교수님께 배우면서 참 많은 경험을 했습니다. 기본기가 약했던 제게 주법부터 새로운 도전, 연주자의 자세 등…
친구처럼 즐겁게 재밌게 제 악기 인생에서 가장 큰 영향을 준 교수님이죠~^^
호른 앙상블을 통해 여러 음악을 재밌게 공부할 수 있었어요.
그러다가 대학 4학년때 우연하게 학교 조교실을 통해 뮤지컬 호른 연주 섭외가 들어왔어요. 그때만해도 한국 뮤지컬 시장이 커지기 전이라서 호른 연주자를 구하는게 어려웠다고 하더라구요.
그렇게 첫 뮤지컬 공연을 시작하게 되었습니다.
첫번째 작품은 "토미"라는 작품이었어요. 클래식과는 다른 화려함에 푹 빠져 버렸죠.
그러다가 뮤지컬 일을 하느라 학교 오케스트라에 불참석해서 F학점받고 한학기 더 다니기도 했어요.^^ 아마 한국예술종합학교 오케스트라 F학점은 제가 최초일것입니다.
우여곡절 끝에 졸업을 하고 서울대 대학원을 갔어요.
그때도 뮤지컬을 하고 있었죠.
대학원때 서울대학교 오케스트라의 독일과 미국 투어가 있었는데 미국에서는 카네기 홀에서 연주였어요. 꿈에 그리던 브로드웨이를 직접 가볼 기회였기에 오디션을 봐서 투어연주를 가게되었습니다.
독일 투어가 끝나고 미국 뉴욕에 연주하러 갔어요…
스트라우스의 자라투스트라 를 연주했는데 제 머리 속에는 온통 브로드웨이 생각뿐이었죠.
브로드웨이에 가보니 제가 이미 했던 작품들과 너무 하고 싶은 작품들이 가득했고 도시 전체의 화려한 매력에 더 빠져버렸어요.
뮤지컬의 여러장르의 음악이 제가 지치지 않고 즐겁고 새롭게 느끼게해줘서 지금까지 24년째 연주를 해온거 같아요.
재미 있었던 일, 아찔했던 일, 슬픈 일..
항상 새로운 장르의 음악을 할 수 있다는건 재밌지만 공부할게 많은 일이기도 합니다.
모든 연주를 클래식처럼 하면 그 음악의 맛이 안나기 때문이죠.
트럼펫처럼 불기도 하고 혹은 트롬본이나 튜바처럼, 세션은 빅밴드 처럼..
클래식처럼, 재즈처럼, 팝처럼, 힙합처럼, 트롯트처럼, 한국전통음악처럼, 오페라처럼…
이런것들이 큰 매력인 것 같아요.
지방 공연을 3달동안 하고 돌아와서 집 비밀번호가 기억이 안나서 고생했던 일,
투어팀 외국인 연주자들과 몇달간 함께 공연했던 일,
심하게 아픈날 데푸티 연주자가 스케줄이 겹쳐서 힘들게 연주했던 일,
지방공연때 매일 파티하다가 몸무게가 10kg이상 쪘던 일,
악기가 문제가 생겼는데 주변에 친구가 악기 빌려준 일 등등…
너무나 많은 일들이 있었네요.
그렇게 인연이된 뮤지컬....
오페라의 유령, 지킬앤하이드, 미스사이공, 레미제라블, 위키드, 아이다, 아가씨와건달들, 맨오브라만차, 젠틀맨스가이드 등...
벌써 23년째 뮤지컬에서 연주를 하고 있네요..
코로나 펜데믹을 제외하고 거의 매달 뮤지컬을 하면서 살았습니다.
공연 횟수로는 최소 1주일에 8회 공연을 하니까..
지금 까지 2년에 1년은 연주했다고 최소한으로 계산하면….
주8(회)x52(주)x(24년의 반 12년)=4992회
뮤지컬 공연만 24년간 최소한으로만 잡아도 5천회 이상 공연을 했네요…ㅋㅋㅋ
뮤지컬 공연을 하면서 많은 연주자들을 알게 되었어요.
클래식 악기 연주자가 드럼, 베이스 기타, 일렉 트릭 기타, 키보드 등 실용음악 친구들을 만나는건 자주 있는 기회가 아니었는데
덕분에 방송이나 k-pop 콘서트, 영화음악 녹음, 광고음악 녹음등 특이한 이력을 가지게 되었어요.
그러면서 자연스럽게 클래식 연주와 실용음악 연주의 차이를 좁힐수 있는 공부가 되었고 관심있는 분야의 공부를 시작하게 되고
그렇게 한국에서 유일한 프렌치 호른 세션 연주자로 연주활동을 하게 되었습니다.
지금은 오페라의 유령 공연을 하고 있습니다.
비시즌에는 클래식 연주도 게스트로 꼭 연주하는데 그 이유는 섬세한 연주를 하기위해서 입니다.
세션이나 뮤지컬 음악만 연주하면 부드러운 음색이 약해져서 점점 센 음색 소리가 나기 때문에 공부하는 마음으로 자주 kbs교향악단, 국립심포니오케스트라, 서울시립교향악단 등...에서 클래식 연주를 하고 있죠.
특이한 연주를 많이 하고 자주하게 된건 사람들과의 관계를 잘 유지하고 호른이라는 악기의 매력을 잘 어필해서 였다고 생각합니다.
씨티팝이라는 장르의 음악으로 개인 솔로 음반을 녹음하고 발매하면서 콘서트나 방송에 섭외가 늘어났어요.
요즘 유튜브나 인스타 등 sns에서 자신의 실력을 보여주는 연주자들을 보면서 다음 목표로 저도 유튜브를 준비중입니다.
많은 기대 부탁드립니다~^^
새로운 장르의 도전, 호른의 인프라를 늘리고자 하는 마음이 후배들에게 더 많은 기회를 줄 수 있길 바랍니다.
by Gerry Wood
We need to have a serious talk about the Four Hornsmen of the Apocalypse!
Over 25 years of musical mischief, the Four Hornsmen of the Apocalypse have stormed the world of horn quartets with their cheeky humor, entertaining performances, educational escapades, and original repertoire. They're like the mischievous jesters of the horn world, trying to spread laughter and harmonious chaos wherever they go.
They started as a student group at the University of Southern Mississippi (and not even the best quartet there) in the late 1900s under the inspired direction of the amazing Denny Behm (God rest his soul). Motivated to prepare for competitions, they crammed into a Pontiac 6000 like a bunch of horn-brandishing clowns and started touring. They imposed on innocent high-school and middle-school kids the questionable humor of the unfortunate souls caught in Gerry's orbit of forced camaraderie. The original syndicate of wrongdoers consisted of Stuart De Haro (Famine), Tony Licata (War), Molly Wood (Pestilence), and Gerry Wood (Death). It's rumored that they even added these apocalyptic equine monikers to the backs of black shirts they received after filling out credit card applications at the local mall.
As the millennium turned over, they descended upon the University of Illinois Champaign-Urbana, where they embarked on a perilous journey of horn enlightenment under the watchful eye of the diabolical and slightly mad horn genius Kazimierz Machala. Their musical madness evolved and developed as they shared a quirky horn-infested farmhouse nestled in the corn fields outside of Champaign. In 2003, Stuart bid farewell to the Four Hornsmen as his aspirations of horn-making greatness took center stage. Now, he orchestrates his heavy metal revolution as the Machinist Foreman at the University of Illinois. Audrey Good took over the last chair duties in his stead with unmatched sarcasm, sardonic wit, and a "Charlie Putnamesqe" mastery of the low register. (In a twist of fate that could only happen in the bizarre world of horn players, Gerry had actually coached a prodigious young Audrey at the Illinois Summer Youth Music Camp when she was only 17). Although she never fulfilled her dream of challenging her way off of fourth horn in the Hornsmen, she improved enough at some point to score the second horn position of the Toronto Symphony horn section.
In 2004, The Four Hornsmen, ever the cunning infiltrators, orchestrated their first of many organized indoctrination operations, flamboyantly labeled the Bluebonnet HornFest. The brainchild of Molly, this devious plan involved enlisting guest artists such as the legendary Ethel Merker, the fripperish "Spike" and Ellen Shaw, the fearless Jeff Nelsen, and the Juanjo "Nobody expects the Spanish Inquisition!" Pastor to perform and bestow the gift of hornology alongside the Hornsmen. Young horn players fell under their spell, never to look at their instruments the same way again.
Life's comic opera took an unexpected twist in 2006 when Molly, the multitasking maestra and caretaker of Gerry's and her progeny, yearned for a well-deserved, peaceful intermission. The trials of touring, graduate assisting, and managing the wild antics of tiny horn aficionados had taken their toll. While the spotlight may not grace her presence, she's the secret mastermind behind the scenes and a ninja of composition and arrangement. She's like the invisible force that keeps the Four Hornsmen on track, ensuring that their musical escapades are as harmoniously chaotic as ever. And just like that, Paul Blackstone swooped in, Paxman 23 in hand, ready to fill the void with his unique blend of musical mischief, dry humor, and beard oil.
At this point, things went from zero to horn-frenzy in no time! The Four Hornsmen soared to new heights, rocking the socks off horn enthusiasts at the 2008 and 2013 IHS Symposiums, touring twice a year and unleashing their musical magic on the world with their album "Intuitions" (seriously, it's a mind-altering experience, available on Spotify and Apple Music for all your auditory pleasure. Play it on repeat until you're tired of it, then turn the volume down and let it play while you sleep). And to satisfy their insatiable wanderlust, they embarked on a whirlwind European adventure in 2015, conquering new territories and leaving a trail of laughter and horn-induced euphoria in their wake.
After conquering Europe like a horn-wielding Joey Tribbiani, Tony made a strategic decision to switch gears and focus on his prowess as a military maestro in the Army band. With his horn skills and military precision, he embarked on a new mission, leaving a vacancy that could only be filled by the one-and-only Brian Brown, a musical virtuoso capable of hitting high notes and delivering punchlines with unparalleled finesse. His arrival was serendipitous as the following year, these melodic misfits brought their unique brand of horn-infused chaos to the land of K-pop and kimchi at the prestigious Busan Maru Music Festival.
After circling the globe like astronauts rocking spaghetti dispensers of sound, they landed back on Earth with a mission to ignite the passions of young horn players through the Honors Horn Camp that they had begun in 2015. Armed with their horns and an arsenal of eye-rolling horn puns, they aimed to blow the minds of budding musicians and show them the wild and wacky wonders of the horn nerdom, camaraderie, and FUNdamentals. The camp was on a roll until 2020 when COVID crept in like a sneaky sax player and forced them to hit the mute button, but not before Jacquelyn Adams joined them on their last tour and brought her horn expertise to their online horn camp, adding an extra sprinkle of musical mischief and laughter.
The Hornsmen have donned their musical capes and transformed the realm of horn quartets into a fantastical funhouse. Their mission is crystal clear: entertain, educate, and inject the repertoire with new and original works with a side order of playful "wink, wink, nudge, nudge" moments and clever quips. The Hornsmen's unique brand of humor is accompanied by an unwavering commitment to delivering top-notch musicality. Their funny antics come with a disclaimer: they must be paired with exquisite playing. Watching a Four Hornsmen show is like witnessing Jimmy Fallon break character on Saturday Night Live–-unpredictable, hilarious, and guaranteed to leave you in stitches. It's baffling that this thing has been allowed to continue completely unchecked. Think of the number of future "Horn Nerds'' they've created in their wake!
The current members of the Four Hornsmen of the Apocalypse are:
Paul Blackstone, Freelancer in Austin, Texas
Brian Brown, Freelancer in Dallas-Fort Worth, Texas
Audrey Good, Second Horn, Toronto Symphony Orchestra
Gerry Wood, Principal Horn, Fort Worth Symphony Orchestra
Saudações,
Espero que estejam bem e já a planear as vossas atividades musicais para este verão. Por todo o mundo haverá muitas atividades a decorrer onde a trompa e os seus intérpretes terão destaque. Oportunidades para quem procurar melhorar as suas habilidades musicais ou, simplesmente desfrutar do nosso maravilhoso instrumento.
Eu, estou verdadeiramente ansioso pelo nosso grande evento IHS55, em Montreal. Tenho acompanhado diariamente as muitas informações que a equipa organizadora tem disponibilizado: terá um elenco fabuloso e atividades para todos os gostos. Uma oportunidade única para ver, ouvir e conviver com alguns dos melhores trompistas do mundo. Estou certo que será um evento inolvidável.
A talentosa equipa da ‘Horn and More’ preparou uma entusiasmante edição para junho, com muita informação e novidades que vale a pena notar: veja ou reveja o fantástico episódio do canal PBS “A Craftsman’s Legacy” dando destaque ao trabalho desenvolvido pelo casal Seraphinoff na construção de trompas; este mês em ‘Meet the People’ conheça melhor Greg Cohen, o nosso responsável pela ligação com os expositores; em ‘Horn on Record’ Ian Zook debruça-se sobre as excelentes gravações de Sören Hermansson; Gabriella Ibarra apresenta-nos Edwin Omar, um talentoso trompista da República Dominicana; na coluna pedagógica Daniel Grabois oferece-nos uma entrevista com David A. Cooper; e ainda mais informações sobre o IHS55.
Não esquecer que em hornsociety.org estão disponíveis todos os números anteriores de ‘Horn and More’, assim como muitos outros artigos e informação relevante. Aí irá também encontrar informação caso pretenda associar-se à IHS. Caso não seja membro, por favor pense nisso!
Divirta-se com a leitura e espero vê-lo(a) em Montreal!
J. Bernardo Silva
Vice-Presidente da IHS
by Caiti Beth McKinney
Hello horn friends!
This month, I’m introducing Canadian composer Violet Archer. Although her parents were Italian immigrants and her original last name was Balestreri, with the unrest of the 1940’s and the start of WWII, her family legally changed their last name to Archer. However, her compositional style was influenced by her heritage and a childhood spent in Italy. In fact, one of her brass quintets is entitled I va vari.
Archer began composing at age 16, and soon after, she attended McGill University where she studied piano and organ. Interestingly, upon her graduation she began performing with the Montréal Women’s Symphony Orchestra and then the New Haven Symphony Orchestra as a percussionist; but she regularly played the clarinet and various string instruments as well. In the summer of 1942, Archer traveled to New York City to take composition lessons with Belá Bartók. Through his instruction, Archer developed a lasting interest in the use of folk music in her compositions. Additionally, while completing a master’s in composition at Yale University from 1947 to 1949, her primary professor was Paul Hindemith.
Among her 330 compositions are several which feature the horn, including four brass quintets. The lengthiest of these is a twenty-minute, multi-movement work entitled Divertimento, which features a wide range of moods and colors. Archer also composed Sonata for Horn and Piano, a challenging work which (to my ear) is reminiscent of Hindemith’s tonal language. Enjoy Buffalo Jump, the first movement of her highly technical work for baritone, horn, and piano, Prairie Profiles (featuring hornist David Hoyt).
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