A Different Path
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.
Greetings from Bernardo Silva
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
Composer Spotlight—Violet Archer
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).
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!
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 email@example.com.
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:
- (The Archivist is) responsible for maintenance-level processing of all archival materials and for administering the Records Management Policy.
- (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.
- 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 firstname.lastname@example.org by June 15, 2023.