IHS 55—Halls and Locations

by Louis-Philippe Marsolais 

The 55th edition of the International Horn Symposium is fast approaching, and for the occasion, we wanted to introduce you to some of the places that will host the different concerts from July 24 to 29!

The two concert halls that are part of the Faculty of Music of the Université de Montréal have been named in honor of great Canadian musicians of the 20th century. Claude Champagne (1891-1965), a great teacher, composer, and pianist, left a great legacy in Quebec. In addition to having composed an immense catalog of symphonic works incorporating Quebec folklore, he was, as early as 1942, one of the first directors of the Conservatoire de Musique de Montréal—one of the three largest musical institutions in Montreal—along with the faculties of music at the universities of Montréal and McGill. An avenue bearing his name was inaugurated after the composer's death and on this street is the Claude Champagne Hall. Every year, there are dozens of concerts presented by the orchestra, the big band, the choir, and various ensembles of the UdeM, operas, and much more! Its size, 950 seats, allows large-scale events, and its clear acoustics are much appreciated by the musicians who perform on its stage. Located at the top of a hill, the panoramic view of Montréal from the foyer of the hall leaves no one indifferent! The major events of the symposium will take place there.

Of more modest size (140 seats), the Serge Garant Hall is ideal for chamber music concerts, lecture recitals, masterclasses, and solo recitals. Formerly a chapel, the stained-glass windows which adorn the large walls to the right and left of the stage are magnificent, and even more so at sunset. This warm room, named in honor of Quebec composer Serge Garant (1929-1986), invites intimacy, and its two high-quality pianos (Yamaha and Fazzioli) will resonate during many of the symposium's events. Some of the competitions, masterclasses, and recitals will be presented there.

A few steps away from the Faculty of Music is the Vincent-d'Indy School of Music and its Marie-Stéphane Hall, the largest in the institution. It was Sister Marie-Stéphane (1888-1985), composer and teacher, who founded the École Supérieure de Musique d'Outremont, which became, in 1932, the École de Musique Vincent-d'Indy. Straddling the line between high school and university, the institution is named after the influential French composer and teacher Vincent d'Indy (1851-1931). Interestingly, Sister Marie-Stéphane studied composition with, among others, Claude Champagne. The blue ceiling and colored stained-glass windows of the room that bears her name are part of the charm of the place, in addition to its beautiful columns and ornate mezzanine. With two pianos, an organ, a projector and screen, and a complete lighting system, this room is the perfect place for concerts and shows. The American Horn Quartet, Katerina Javurkova, and many other artists will be heard here.

Just cross Mount Royal and head south to the heart of the Quartier des Spectacles where an artistic and multicultural ecosystem abounds. Theaters, plazas, festivals, concert halls, and excellent restaurants are clustered in a vibrant and exciting 1 km square. Located here is the magnificent Maison Symphonique, a concert hall with over 2,100 seats. Designed according to the highest acoustic standards in the world, its walls are covered with Quebec beech wood, a material known for its acoustic qualities and appreciated for its beauty. Since its inauguration in 2011, it has been the pride of Montrealers and has welcomed, in addition to the Orchestre Symphonique de Montréal, the Orchestre Métropolitain, and Les Violons du Roy, many prestigious orchestras and soloists visiting Quebec have performed here, including the Toronto Symphony Orchestra, Bayerischer Rundfunk, Emmanuel Pahud, Martha Argerich, the Budapest Festival Orchestra, and many others. Installed in 2014, the imposing Grand Orgue Pierre Béique (Casavant op. 3900) with its 109 registers, 83 stops, 116 ranks and 6,489 pipes is also located here. A concert with the Canadian National Brass Project and guest horn players will allow us to appreciate its incredible acoustics.

If you don't want to miss the biggest musical event of the week, you must go to the Fernand Lindsay Amphitheatre. Located a little over 30 minutes from the island of Montréal, this cultural mecca in the city of Joliette (my hometown) is a must-see. Every summer, it hosts nothing less than the largest classical music festival in Canada. (One has only to look at the long and impressive list of internationally renowned artists and ensembles to see that!) Perhaps it is the magic of the site—70 hectares of greenery on the banks of the Assomption River—that has won the hearts of music lovers in the region? or its exceptional acoustics? One thing is certain, since its construction in 1989, the success of this unique venue is undeniable. This open-air concert hall can accommodate close to 7,000 people on the best days of the summer! In 2010, the venue was renamed in memory of Father Fernand Lindsay, a man with a heart as big as the earth who made music shine more than any other in the Lanaudière region throughout his life. It is in this enchanting setting that the Orchestre Métropolitain and its conductor and artistic director Yannick Nézet-Séguin will present “Strauss at the Summit” on July 28: horn players (and music lovers) will have their ears full of Schumann's Koncertstück (with Sarah Willis, Stephan Dohr, Yun Zeng, and myself) and Strauss's Eine Alpensinfonie. And if you are a student and would like to participate, you can register for the Alpine Symphony Competition until June 1st. You’ll get a chance to take the stage (or backstage, I should say) and be part of this symphonic monument!

See you in Montréal this July!

Louis-Philippe

Pedagogy Column—The Yin and Yang of Composing Music and Playing the Horn

by Kerry Turner

I began horn when I was 10 years old. One of my very first gigs was playing 3rd horn on Mendelssohn’s Elijah with the San Antonio Choral Society. I was only in sixth grade. After rehearsing for a month, I started writing my own music in a similar style. I sat down at our piano and began composing oratorio-type pieces. My mother, who was a concert pianist, became aware of this talent and decided to teach me how to actually notate music. She gave me a few music theory tips as well. Throughout my junior high and high school years, I composed a lot of tone poem-style pieces. My parents encouraged me to concentrate on composition and not so much on horn. I won a large composition department scholarship to Baylor University, but I decided to double major in horn as well. When I transferred to the Manhattan School of Music, I was encouraged to specialize, so I chose the horn. It was only when I began my activities with the American Horn Quartet that I took up composing again. 

At the beginning of my composition career, I was writing specifically for the members of the American Horn Quartet, whose playing abilities I knew intimately. Shortly after that, when I began composing for other people, I sometimes considered their playing abilities, and sometimes I didn’t. For example, I have been commissioned by a few amateur ensembles, and of course I had to take that into consideration. When I am in the process of composing, I allow the creative muse to dictate what I am writing. But I really tried to keep my eye on the level of difficulty. As a performer, I am very much aware of the need to leave enough time for rests during the course of the piece. But for some of the commissions I get for professional symphony orchestras, I’m well aware of the proficiency for which I am writing. 

For many years, when I agreed to a commission, I included a phrase in the contract that stated that the commissioner is aware of the compositional style of the composer. There were people who commissioned me and were expecting an avant-garde piece or postmodern work. I always live by the philosophy that composers should be true to their own voices. Although my musical language is predominantly tonal, I have studied, experimented in, and incorporated other styles of composition, which composers today have inherited—for example, twelve-tone, minimalism, extended techniques, and neo-medievalism. I have never changed my musical language to suit a commissioner’s personal taste. The times I have tried to experiment with more dissonant, “modern” composing, it has not been a success. 

Did composing change me as a horn player? The large answer to that is “no.” The recent answer to that is “yes.” Certain friends of mine have encouraged me to write somewhat easier pieces. When I say easier, I mean not as extreme in the demands of the range, and maybe not so technically difficult. Also, as an older player, I’m hesitant to write extremely difficult pieces for myself. But in the end, the muse dictates what I do. A classic example of this is my new work for IHS 55 for four horns and string orchestra. I kept the horn parts fairly reasonable, but there is a complex fugue in the last movement with about 16 devilishly difficult bars for the soloists. 

After you’ve composed a lot of music and studied a lot of compositions from many different periods, especially new music, you learn to understand music much more quickly and at a deeper level. I’ve also learned how to spot the passages in a composition that were probably difficult for the composer to write. Very often in my orchestra during rehearsals, I became clearly aware of the composer’s mammoth accomplishment in a certain passage. And I have often wanted just to stand up and ask everybody if they were also aware of what an unbelievable miracle that passage is! This happens especially often with Richard Strauss and J.S. Bach. 

Composing is a special gift. I’m not so certain that it can be taught and learned if you don’t already have an aptitude for it. I know this is not a popular thing to write. However, I would advise those who want to follow this path to study the compositions of the great masters. When you are in the zone, 90% of what you are writing is inspiration. But you really must hone your technical skills to get you through the remaining 10%. I think that might be a quote from Brahms, actually. 

When you are presenting your music to your colleagues in the hope that they will play it, try to present them with short pieces, pieces that properly represent your ability. Musicians are much more likely to try your piece if it is short. If they want more, someone will ask for it. 

Years ago, a friend of mine once told me to be very careful about which pieces I release to the world. People will form an opinion about your ability as a composer from that single hearing. So make it good! 

Meet the People—Horn and More Student Liaison

by Inman Hebert

My name is Inman Hebert. My first introduction to the horn came with our junior high band program. Six years later, I am graduating from Prattville High School in Central Alabama, and in the fall, I will attend the University of Alabama to pursue a music performance degree while studying with Charles “Skip” Snead.

In my private lessons with Dr. Brenda Luchsinger, horn professor at Alabama State University and the Alabama state coordinator for the International Horn Society, she encouraged me to join the IHS. I have been a proud member for the past four years, and I currently have the privilege of serving on the Student Advisory Board.

I plan to integrate more student-oriented content into the Horn and More newsletter, and I am always open to your ideas. Particularly, I would like to feature young winners of prominent solo competitions, accentuating the diverse stories behind the young stars of our community. Additionally, I want to highlight the various opportunities available for young horn players, from camps to competitions and symposiums.

The horn community’s generosity during the pandemic with its online offerings opened my eyes to the experiences available to horn players. By contributing content in an online format, I hope to increase the participation of the younger generation in the IHS and encourage them to explore. You are welcome to contact me at studentliaison@hornsociety.org.

Unique Volunteer Opportunity: Paper Archivist

The IHS is looking for our next Paper Archivist! Our archives are housed at the Eastman School of Music, but you don't need to be geographically located near there to hold this position. We are grateful to Peggy Moran for her years of service in this role, and her gracious offer to help with the transition to answer questions and guide our new archivist through the process. 

The official description of this role states:

1. (The Archivist is) responsible for maintenance-level processing of all archival materials and for administering the Records Management Policy.
2. (The Archivist is) appointed by the Advisory Council (AC) according to IHS Hiring Policies, to solicit, receive, weed, process, and transport materials according to the current IHS Records Management Policy. The Archivist may also, at his or her discretion, recommend changes to this Policy, which must be approved by the IHS AC, and which, after approval, will be communicated to the Archive location Head of Special Collections. The Archivist will report annually to the IHS AC, with a copy of same to the Head of Special Collections.
3. Once materials have been weeded and transported to the Archive location, the Head of Special Collections (or designee) will assume full responsibility for oversight of the IHS Archive, including any additional maintenance-level processing of all archival materials, administering the IHS Records Management Policy, and ensuring compliance with all provisions of the current agreement as enacted, together with any revisions that may be effected at any time.

If you have any questions, please ask! Interested? Send inquiries and/or a resume and cover letter to exec-director@hornsociety.org by June 15, 2023.