by Inman Hebert
Summer, despite its often-hectic schedules, offers horn students a chance for self-assessment, particularly within the practical side of being a musician. In April, we discussed resumes, but what about a headshot? If you have one, does it reflect who you are today? If not, create a plan to add an updated photograph to your portfolio.
If you have the resources, consider working with a professional photographer. Do you need someone more affordable? Look to other students who are launching their photography careers. To find the appropriate photographer, review the portrait photographs they have taken of others to determine if their quality and style suit your needs and desires. Just as we hope to be paid as musicians, photographers are also artists who expect to be paid for their work.
As another alternative, today’s cell phones have amazing cameras. Work out an arrangement with a friend or fellow musician. You will want a headshot, focusing primarily on your face and shoulders, and a musician portrait with a wider angle that may be more creative.
Even if working with a professional photographer, that individual likely has little experience with musician portraits. Look at photos of horn players online to determine attire and potential poses. A quick search shows a variety of results ranging from formal tuxedos and dresses to informal button-downs and blouses. The attire choice ultimately represents your personality. In browsing photographs of horn players online, carefully examine the poses. The horn photographs beautifully as an instrument. In what ways is it being held? Watch how the intricate parts of the horn often face the camera and where the hands are holding the horn in these photographs.
Match the attire and poses with potential backgrounds (which are often readily available on college campuses). Start paying attention to walls, the sides of buildings, steps, and greenery as potential options. Browse senior photos taken on your campus and evaluate if such settings would work for your portrait.
Backgrounds only work when combined with one of the most crucial aspects of portraiture: light. Look for soft, muted light, which creates more flattering portraits. Consider a cloudy day or the warm light from the golden hours after sunrise or before sunset. If shooting in harsh light, look for open shade in the shadows cast by objects such as tall buildings, doorway edges, or a forest’s boundary. Watch for dappled light and blown-out backgrounds. Change angles if squinting into the sun.
In portrait photography, eyes are considered the window to the soul. While an engaging photo may have you looking into the distance, the eyes should always be visible and in focus with the chin slightly down. Experiment with angles, the rule of thirds, and different distances, as the entire instrument need not be in the shot. Typically, eye-level shots prove more favorable. Most importantly, choose someone who can help you to feel comfortable in front of the camera so that the result represents the image and style you wish to portray.
by Todd Goranson
In addition to addressing performance anxiety and emotional wellness (see prior two issues of Horn and More), musicians should strive to be proactive in maintaining their physical health. As “artist-athletes,” musicians must be able to perform the athletic elements needed for tone production, articulation, technique, and listening if they intend to present art for their audiences.
The horn player is exposed to a variety of performance injury risks, including several musculoskeletal issues. Additionally, the repetitive physical demands on the performer can make it easy to dismiss a problem until it finally disrupts the ability to perform. Recent studies have shown the lifetime incidence rate for performance-related injury to be anywhere from 46-90%.[1]
Performing musicians should benefit from being as “body-aware” as professional dancers. The adage to “play through the pain” when we experience discomfort must be replaced with an acknowledgement that any pain sensation is the body demanding attention. Is the lumbar region of your back sore from “twisting” during a long practice session? Do your lips or teeth experience sensitivity from mouthpiece pressure? Do your joints become sore, or do you experience a change in sensation in your fingers? These are all potential indications of strain or injury and require immediate attention; ignoring something as simple as “embouchure burn” or cramping can develop into an injury. Perhaps the most important step we can take to prevent or mitigate musculoskeletal injury is to notice and then stop and assess possible causes of the discomfort or change in sensation. It is also critically important for educators to remind students that they must rest, even if briefly, if they experience embouchure or joint pain. I remind each of my students that it is their responsibility to talk with me if they experience any pain from playing. Repetitive use injuries, such as carpal tunnel syndrome and tendonitis, often result from ignoring discomfort until it progresses into a debilitating issue.
Proper body alignment (including that of our head, neck, shoulders, back and hips, wrists, hands, and fingers) when sitting or standing with our instrument is a primary goal, and efficiency is our friend in this matter. Ease of movement, as well as maintaining straight lines or gentle curves in hands and joints when holding and playing is paramount. Sit in a tall, athletic position (i.e. feet bearing the weight of the legs on the floor, distributing the weight of hips and upper body across the surface of the chair, head floating above the shoulders, shoulders above the hips, etc.). The asymmetrical nature of horn playing makes it easy to misalign the spine or put excessive pressure on the hips, lower back, and parts of the left hand. Some horns include an adjustable flipper and pinky hook for the left hand, while most others can be adjusted by a trustworthy repair technician. This is an inexpensive investment in your long-term health and comfort and should be a topic of discussion with your horn students, as well. Consulting an Alexander Technique instructor (and bringing your horn to a session) is a great starting point for optimizing posture and carriage. Pain or damage from excessive mouthpiece pressure as well as repetitive use injuries to the hands/wrists are common risks for the horn player. Body awareness and regular intervals of rest in our practice routine are invaluable tools for addressing these issues. Do not dismiss pain as “growing pains” from increased practice, advancing age, or a badge of honor for hard work.
The benefits of implementing a daily routine that includes warming up and stretching the upper body and extremities are well-documented.[2] Several of the stretches that I employ in my own routine are demonstrated in YouTube videos that are linked in my endnotes for this article.[3] [4] [5] (Disclaimer: always consult with your primary care provider before starting a new exercise or stretching regimen, and never continue a stretch if it results in pain or loss of sensation.) Warming up cold muscles and joints and resting tired ones should be considered “best practices” in our field. If we expand our awareness during practice and performance time to notice tension in our back, neck, shoulders, or hips, we can often easily address the issue with basic stretches or with rest.
There are many well-written online resources available for horn players (and musicians, in general) addressing common musculoskeletal issues and to how address them. These are certainly worth exploring. I also recommend having regular discussions with your primary care health provider about concerns you may have about changes in your health. Many of you may have musician/sports medicine specialists in your area, and your physician should be able to provide a referral to these or other physical/occupational therapists if a visit is advised.
Other keys to injury prevention and mitigation include proper nutrition, adequate sleep and rest, and regular exercise that enhances both strength and flexibility. Giving our bodies the attention, rest, fuel, and care they need will increase the likelihood that we can meet the physical demands of our craft without injury or, if necessary, recover from injury with greater success.
Todd Goranson, DMA, BSN, RN
Professor of Saxophone & Bassoon
Messiah University
[1] Clara Rodríguez-Gude, Yaiza Taboada-Iglesias, and Margarita Pino-Juste, “Musculoskeletal Pain in Musicians: Prevalence and Risk Factors – A Systematic Review,” International Journal of Occupational Safety and Ergonomics 29, no. 2 (July 5, 2022): 883–901.
[2] Marianne Roos et al., “Workplace Injury Prevention and Wellness Program for Orchestra Musicians: A Randomized Controlled Trial,” Journal of Orthopaedic & Sports Physical Therapy 54, no. 9 (September 2024): 584–93.
[3] Anderson Dart and Nick Gallo, “Finger & Upper Extremity Stretches for Musicians,” YouTube, May 9, 2018.
[4] Michelle Coil, “5 Minute Finger and Hand Stiffness Exercise Routine for Both Hands: No Equipment Required,” YouTube, March 13, 2023.
[5] Amelia Rosenberger, “Neck Stretches for Musicians (Part 1),” YouTube, August 25, 2019.
by Layne Anspach
This month, Chamber Music Corner will examine a well-known work from the horn trio repertoire: Lennox Berkeley’s Trio, Op. 44, for violin, horn, and piano. Sir Lennox Berkeley (1903-1989) was an English composer and professor. At the suggestion of Ravel, Berkeley traveled to Paris to study with Nadia Boulanger. He was appointed professor of composition at the Royal Academy of Music in 1946 and served until 1968. Berkeley’s compositional output runs the gamut of genres: operas, ballets, and film scores; orchestral, vocal, and chamber music, as well as solo works. To preserve his legacy, the Lennox Berkeley Society was founded in 2000.
Op. 44 was commissioned by pianist Colin Horsley for Dennis Brain. The two, along with violinist Manoug Parikian, premiered the work at the Victoria and Albert Museum in March 1954. The first movement, Allegro, opens with a series of ascending fourths, played first by the horn and followed by the violin. The second theme is presented by the violin with horn support. Piano takes over the second theme, maintaining the calm demeanor that characterizes the section. The development starts with a clear statement of a countermelody to the first theme by the violin. Horn and violin trade time with the piano during the development but complete the section together with increasing intensity. The return of the opening sees the horn and piano exchange parts, with the piano now presenting the rising fourth motif. After the climax of the movement, un poco piu lento follows, leading the listener to a soft, tranquil conclusion.
The second movement, Lento, is made up of two melodic sections. The opening slowly unfolds with a repeated two-measure figure in the piano. The violin enters with sustained notes, increasing in intensity, which are passed to the horn. The second section is moved along by the piano with horn and violin joining to add color and rhythmic interest. After an anticipated climax, the section withdraws and returns to a modified version of the opening theme, not fully presented before slipping into a truncation of the second theme. The movement ends with an ominous yet quiet coda.
A theme and variations completes the piece, although this movement accounts for half of the total work. There are ten variations: I. Allegro vivace; II. Allegretto; III. Lento; IV. Vivace; V. Andante; VI. Moderato; VII. Adagio; VIII. Moderato; IX. Allegro vivo; X. Moderato. As in many such movements, the third variation provides the most noticeable alteration of the theme. The overall pace is varied and includes a few attacca transitions between variations. To highlight a couple of the variations: Variation V starts with horn and violin in a delightful dance until the piano interrupts. Variation VII, a long cantabile Adagio, is a stunning presentation of horn and violin melody. Variation IX, a quick gigue, hurtles directly into Variation X which concludes the movement with a comparatively subdued presentation of the theme.
The reference recording is from the album Berkeley, Brahms & Leshnoff: Horn Trios (Naxos). The hornist is David Alan Cooper.
by Todd Goranson
Fortunately, there are several evidence-based, non-pharmacological strategies and tactics that are effective for managing performance anxiety. First, rather than trying to avoid uncomfortable feelings related to performance, we should instead frame these feelings properly. It is natural for a performer, when investing long hours in preparation, to feel anticipation and excitement in a performance situation—and it's easy to conflate that excitement with fear. Make it a habit to remind yourself how excited you are to finally present the music to your audience. Remind yourself (out loud) that you are not in danger, you are well-prepared, and that the audience is there to enjoy a live musical experience. The physiology of excitement and fear are nearly identical, aside from our perspective, and the extra adrenaline in our bloodstream prepares us for peak performance and attention.[1] Numerous colleagues with whom I have worked admit that, when they don't feel any anxiety or excitement, their performances typically feel rather “flat.” This is also why many musicians profess a dislike for beta blocker drugs, which suppress the effects of adrenaline. Allowing ourselves to be in the moment and to acknowledge how we feel right now, even if that feeling is a little uncomfortable, is much more productive than catastrophizing about what could go wrong in the future or what those potential (unlikely) consequences might be. There is extensive research establishing the benefit of “mindfulness” in this regard.[2]
Many musicians struggle with conscious invasive thoughts (doubt or negativity) during performances. It is important to note that, contrary to popular belief, the conscious mind is not a very effective “multi-tasker.” When we are conscious of several thoughts at once, we are in fact rapidly shuffling between several individual thoughts.[3] Finding a single, proactive and intentional point of focus for your conscious mind, such as “I'm going to shape each line beautifully,” “I'm playing this as a gift to my audience,” or, as my wife once prescribed, “I LOVE the way I sound!” can effectively drown out invasive thoughts. In addition, these are all focuses that shift attention from self toward sharing something meaningful with your listeners, and this benefits everyone.
It's also essential that we endeavor to make as many of the technical aspects of our performance as automatic as possible. Preparation works. It should be of no surprise to me that I will feel different in a performance than I will in a practice room or even a dress rehearsal, so as much as possible, I want to practice in such a way that the technique is on “autopilot” so that I can focus on shaping a phrase, blending and tuning, and sharing the music with my audience. I cannot overstate how excellent practice (daily fundamentals, practicing technical passages repeatedly and flawlessly under tempo in small segments, consistent metronome use, practicing mindfully and attentively) is critical to giving us the confidence to play at a high level despite how we might feel in the moment. Building great habits through practice is incredibly empowering.
This discussion of practice leads me to my next point. Most of us have experienced a moment in a rehearsal or performance when we reflexively “drop” several notes immediately after making an unexpected mistake and then continue playing. Although I've heard musicians suggest that this is a “freeze” response prompted by our sympathetic nervous system, I disagree; rather, I believe it is simply an ingrained habit. Trained musicians are conditioned in their practice habits to play through material until they “make a mistake,” at which point, they stop playing to address the error. This is not a bad habit, in and of itself; in fact, it is an essential part of our process. However, if this is our only habit, then it will be our reflex to stop playing even during a performance. At some point in the days before our performance, we must also practice playing several repetitions of works in their entirety so that we are conditioned to not stop during our performance, particularly if we make a mistake. Building a habit of not critically evaluating one's own playing during an actual performance is invaluable—it is a task that should take place during practice or after a performance. (Recording complete runs of the pieces can further free us from the need to be evaluative during our playing.) When we make a distinction between performance and practice in our preparation, it becomes our habit to be “in the moment” with our audience rather than “in our own heads” during performance.
Regarding repetition and performance: performing regularly can help condition us to deal with the stress more effectively. “Stress inoculation,” or conditioned response to stress, is our ability to adapt to heightened stress levels by being regularly subjected to a stimulus.[4] Performing as often as possible, including both informal and formal settings, is a great way to build confidence and to train our brains and bodies to respond well to performance situations. I also have my students visualize in detail their degree recital performances in advance, mentally “rehearsing” the time before they take the stage, acknowledging how they may feel and anticipating how things will look and sound before, during, and after the performance. Numerous studies over several decades have demonstrated that visualization is a very effective tool in athletic performance, and I have seen repeatedly how it has transformed performance experiences for my myself and many of my students.[5] One student even commented, following a very successful concerto performance with our university orchestra, “It felt like the SECOND time I had given the performance!”
While most musicians report changes in breathing as a symptom of performance anxiety, it could be more accurately described as a cause. Since each of the performance anxiety symptoms discussed are triggered by the sympathetic nervous system (SNS), an effective tactic is engaging its counterpart, the parasympathetic nervous system (PNS), which is involved with “rest and digest.” We can reassure our brain (through the brain/body feedback loop) that we are safe by breathing deeply and slowly in a manner that activates the vagus nerve.[6] Intentionality in breathing is potentially transformative for anyone experiencing performance anxiety. Author and speaker Lt. Col. David Grossman introduced me to tactical breathing, which can be described as deep slow breathing that basketball players typically use when preparing for a free throw. Taught to police officers and military members for decades, Grossman's approach is simple and effective in lowering the pulse rate and decreasing our own SNS response by stimulating the vagus nerve. Since the SNS response tends to subside when we can keep our pulse rate below 115 BPM when under stress, employing slow and deep breaths can potentially reduce or eliminate any of the outlined symptoms and engage the PNS. Effective breathing technique can restore fine motor control, thereby normalizing pulse rate, reducing invasive thoughts, returning sensations to our extremities, etc.[7] There are numerous free videos online demonstrating these techniques under search terms such as “tactical breathing,” “vagal breathing,” and “square breathing.” Tactical breathing has been perhaps the most impactful addition to my own performance habits. As Col. Grossman tells his students when under stress, pause and remind yourself, “It's a FREE THROW. It's a FREE THROW.”
It is worth noting that in ICSOM’s 2015 Musician’s Health Survey, 31% of the responding professional performers indicated they were currently taking beta blockers such as propranolol to try to manage their performance anxiety.[8] While these decisions are obviously personal ones, I strongly encourage the reader to consider the benefits and advantages of non-pharmaceutical management of performance anxiety, as there are effective solutions without potential adverse side-effects. Furthermore, live performance reminds us that we are all humans and prone to error, even with elite-level preparation. I invite you, after performances where you feel you have fallen short, to extend to yourself the same grace that you might to a stranger or, even better, to someone that you deeply care about. It seems only fair.
If you have follow-up questions regarding this month's column, please feel free to contact me at tgoranson@messiah.edu. Next month, we will discuss injury prevention and recovery from issues that are specific to the horn player.
Todd Goranson, DMA, BSN, RN
Professor of Saxophone & Bassoon
Messiah University
[1] Alison Wood Brooks, “Get Excited: Reappraising Pre-Performance Anxiety as Excitement.,” Journal of Experimental Psychology: General 143, no. 3 (2014): 1144–58, https://doi.org/10.1037/a0035325.
[2] Yan Wang, Si-Man Lei, and Jingjing Fan, “Effects of Mindfulness-Based Interventions on Promoting Athletic Performance and Related Factors among Athletes: A Systematic Review and Meta-Analysis of Randomized Controlled Trial,” International Journal of Environmental Research and Public Health 20, no. 3 (January 22, 2023): 2038, https://doi.org/10.3390/ijerph20032038.
[3] K.L. Shapiro, J.E. Raymond, and K.M. Arnell, “The Attentional Blink,” Trends in Cognitive Sciences 1, no. 8 (November 1997): 291–96, https://doi.org/10.1016/s1364-6613(97)01094-2.
[4] Dave Grossman and Loren W. Christensen, On Combat: The Psychology and Physiology of Deadly Conflict in War and in Peace (Millstadt, IL: Warrior Science Pub, 2008).
[5] Krista J. Munroe-Chandler and Michelle D. Guerrero, “Psychological Imagery in Sport and Performance,” Oxford Research Encyclopedia of Psychology, April 26, 2017, https://doi.org/10.1093/acrefore/9780190236557.013.228.
[6] Roderik J. Gerritsen and Guido P. Band, “Breath of Life: The Respiratory Vagal Stimulation Model of Contemplative Activity,” Frontiers in Human Neuroscience 12 (October 9, 2018), https://doi.org/10.3389/fnhum.2018.00397.
[7] Dave Grossman and Loren W. Christensen, On Combat: The Psychology and Physiology of Deadly Conflict in War and in Peace (Millstadt, IL: Warrior Science Pub, 2008).
[8] Peter de Boor, “The 2015 Musicians’ Health Survey Results,” Senza Sordino, June 14, 2017, https://www.icsom.org/senzasordino/2017/06/the-2015-musicians-health-survey-results/.
by Inman Hebert
So You Think You Want to be in a Military Band…
National Military Appreciation Month in the United States brings to mind events ranging from the National Memorial Day Concert at the United States Capitol to free pops concerts hosted by towns and cities to honor the armed forces. As you play in or listen to a patriotic concert, have you considered what being in a military band might mean for your future as a horn player?
Understanding the role musicians have in the military band is paramount to this decision. Military bands perform in ceremonial roles and promote tradition through parades, command ceremonies, dinner receptions, foreign dignitary visits, and funerals. Musicians also offer entertainment through concerts and holiday celebrations. Above all, military bands operate as ambassadors to promote a nation and its military.
If such a role appeals to you, consider whether the physical and medical requirements may serve as a barrier. Musicians must undergo a comprehensive military medical exam, which includes physical and psychological screenings and assessments. As an example, disqualifications may result from being prescribed certain medications or even having food allergies with systemic symptoms.
All musicians in U.S. military bands must meet certain physical fitness standards that vary by branch. These requirements typically include height and weight standards and a certain number of push-ups, sit-ups, pull-ups, and timed runs. All American musicians (except those in the “The President’s Own” and the Coast Guard Band) must undergo basic training. Boot camp varies from 8 to 13 weeks and includes intense physical training and field exercises, with the goals of developing discipline, building teamwork, and instilling military values. No separate boot camp training exists for musicians.
The military operates in a hierarchy, and musicians operate within that system. Standards include a dress code and specified military grooming. Males still enter boot camp with haircuts that resemble a shaved head and must continue to maintain short hair off the ears and above the collar. Women have more flexibility depending on the military branch. Musicians sign enlistment contracts and remain bound to the rules under which they agreed to abide.
Each branch of the military posts it pay scales, which allows transparency when considering this career path. Musicians need to consider other benefits associated with the military. Specifically, the basic allowance for housing serves (in the United States) as a non-taxable monetary payment, supplementing the basic salary. In addition, certain benefits, such as health coverage, are covered at little or no cost to the active-duty service member.
If being a musician in a military band sounds appealing, consider the three types of military bands. Premier Bands remain the most competitive as the U.S. military has designated only 11 among all military branches. Most premier band musicians have earned at least a bachelor’s degree, but many often hold advanced degrees in music. Interested candidates can find announcements on the specific band’s website and must participate in a round of highly competitive and selective auditions. Those winning auditions serve as enlisted members who enter the military at a specified pay grade. Premier band musicians have enlistment contracts which dictate that they are not deployable outside of the United States. Most are permanently based in or near Washington, D.C.
All branches of the military, except the Coast Guard, offer regional or fleet bands. In regional bands, you may perform other roles and must understand the culture of the branch you serve. Marine Bands consider your first job as a musician but dictate that you must be ready as a combat Marine when needed, whereas Air Force Bands state that if deployed, your job will be to perform on your instrument. Similar to the Marines, the Army may require deployment with the rest of your division, whereas the Navy states your entire job is to play music, but you will spend 6 months annually on a ship at sea. Regional bands require auditions, but more positions for these exist than for the Premier Bands. Many musicians go into Regional Bands right out of high school.
Reserve and National Guard Band members serve part-time concurrent to civilian careers. These obligations may be one weekend per month (plus a two-week concert tour) but could include activation with deployment overseas.
A career in a military band allows horn players to pursue a full-time job in music. Military band musicians often tout the practical benefits and the intangible sense of family. Interviews with military musicians emphasize the fulfillment in exploring the full band repertoire, in addition to the traditional ceremonial marches. If the stability and the structure of military bands appeal to you, start getting in shape, musically and physically, and look for audition opportunities.
For more information, read the International Horn Society’s “Military Matters” column in The Horn Call that shares stories from military horn players throughout the world. If you are interested in another possible career—being a university teacher—read the May 2024 Horn and More Student Column “So You Think You Want to be a Music Professor…”
by Pierre-Antoine Tremblay, IHS 57 Featured Artist
The art of portamento—once an expressive hallmark of music—has largely faded from modern performance practice. Yet, in the 19th and early 20th centuries, this technique of seamlessly gliding between notes was considered an essential tool for lyrical phrasing and expressive musicianship. As a musician dedicated to historical performance, I have long been fascinated by these forgotten expressive devices and their role in shaping the horn’s distinctive voice in the Romantic repertoire.
My name is Pierre-Antoine Tremblay, and I am a horn player specializing in historical instruments. I teach natural horn (and all sorts of early valve horns) at the Conservatoire National Supérieur de Musique de Paris and the Escola Superior de Música de Catalunya in Barcelona. I perform with period instrument orchestras across Europe and Asia, using a wide range of horns built between 1700 and 1950.
Portamento, the technique of sliding audibly from one note to another, is now almost absent from modern horn playing, yet it was once a hallmark of expressive performance. In the 19th century, pedagogical treatises from France and Germany described it as an essential skill. Viennese tradition retained this expressive tool well into the 20th century with horn players like Gottfried von Freiberg who emphasized clearly audible slurs in his playing and teaching.
Early recordings from the 20th century capture this lost art. In a 1918 recording of Flotow's Martha by the New York Philharmonic (which can easily be found on YouTube), the principal horn glides expressively between notes in his lyrical solo. Viennese recordings under Freiberg’s tenure (1932–1962) also reveal remarkable portamenti in works like Mahler’s Ninth Symphony and Strauss’s Ein Heldenleben.
Vienna horns, still used today in Austria’s major orchestras, contribute to this unique legato. Developed by Leopold Uhlmann in the 1830s, they feature distinctive Viennese double-piston valves. However, modern research suggests that the valve placement—farther from the mouthpiece than on modern double horns—plays a crucial role in facilitating smooth note connections.
Bruckner’s Fourth Symphony offers yet another striking example of how portamento could enhance phrasing. Its horn passages, from the opening calls to the expressive leaps of the Finale, naturally invite the use of this technique. Reintroducing portamento into our playing, whether on modern or historical horns, could help us highlight the incredible expressive power of this music.
At the 2025 IHS Symposium, I will present a lecture on historical horn portamento (featuring some fascinating early 20th-century recordings) and perform in recital on an original Leopold Uhlmann horn from the late 19th century, applying these techniques in practice. I can’t wait to share this fascinating aspect of horn playing with the IHS community!
by Caiti Beth McKinney
Hello everyone,
This month I want to share with you a bit about the music and life of an outstanding Canadian composer, Barbara Pentland (1912-2000). Pentland was one of the three prominent women composers who changed the musical landscape of 20th-century Canadian classical music, the others being Violet Archer (1913-2000) and Jean Coulthard (1908-2000). In a strange twist of fate, all three composers passed away within five weeks of each other. If you are a long-time reader of Horn and More, you may remember Violet Archer from this column published exactly two years ago!
Pentland was raised in an upper-class family who expected her to conform to their lifestyle, meaning a life of soirees and a well-connected marriage rather than any kind of professional career. Young Barbara, however, had other plans. At the age of 9, she began studying piano, and it wasn’t long afterwards that Pentland started writing her own music, despite discouragement from both her parents and her teacher. However, as the years passed, her interest never waned. Despite all obstacles, Pentland entered the Juilliard School of Music in 1936 as a graduate student studying counterpoint and composition.
With an output of over 150 compositions, Pentland was highly prolific and wrote in a variety of styles. Her composition for horn and piano, Elegy (which at the time of this writing remains unrecorded), is a true chamber work, with the piano serving as a second but equally important voice rather than as accompaniment. Despite its shorter duration of only six minutes, Elegy is a challenging but rewarding piece filled with extended techniques including quartertone tuning, double trills (two fingers on one valve), and an aleatoric section which allows the performers to exercise their musical creativity. If you are into experimental music, Elegy will surely interest you.
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