As I write these words, the pure, bare landscape of central New Mexico passes below our airplane en route from San Antonio to Portland, from my husband’s family to my own. Having the opportunity to travel again after 15 months on the ground, most of it inside our own four walls, is an indescribable luxury. Indeed, as the seemingly endless Brussels winter lockdown dragged on, it was exactly this kind of landscape that became the focus of my longing. My soul was hungry for an uncluttered horizon, for freedom of movement, for the space to breathe, to dream, to renew itself, to shake off the confines and grief of what (and whom) we have lost. I imagined standing on the edge of a plateau, looking towards the sunset, playing the beginning of the Britten Serenade and letting it echo into the far distance.
Though we still have a lot of ground to cover, hope and anticipation are in the air, as ensembles plan to welcome live audiences this summer and beyond, and we begin to be - and play - together again. The restrictions of the pandemic have taught us how important these connections are, and how they are never to be taken for granted. Our horn community has found new ways to connect and inspire, to share resources and support, to create and face new challenges, to lay the groundwork for the future. The upcoming online symposium, IHS53, is ALL about that! Never have we needed our “One Horn Community” more than now. In this issue, you will find a few sneak previews into the kinds of events, performances, and opportunities you can expect to find as this brand-new (for us!) event prepares to unfold. At the same time, we look back at the first half-century of the IHS through the upcoming release of the 50th anniversary commemorative volume, which you can learn about in Jeff Snedeker’s video. Mike Harcrow provides this month’s pedagogy contribution - his concept of the “playroom” may change the way you approach your “practice” time. Test your behind-the-scenes knowledge of movie soundtrack recording in this month’s Trivia Contest, courtesy of our own expert on the IHS Advisory Council, Andrew Bain.
After six wonderful years as editor of Horn and More, I will step down in August, making this my second-to-last issue. Endless gratitude goes out to my amazing Horn and More team, to the hundreds of contributors from around the world who have generously shared their stories, to our volunteer translators, and of course to you, our readers! The E-Newsletter will be in steady, deeply capable hands with our new editor (keep an eye on our IHS social media accounts and the next issue for the announcement). I am excited to see where we go from here!
Kristina Mascher-Turner Editor, Horn and More Vice President, IHS
IHS53 is taking shape and coming soon! Imagine being able to create your own Symposium experience from a selection of over 200 presentations! Warm-up sessions, a wide variety of lectures and panel discussions, solo performances, chamber music performances, horn ensembles from all over the world, and much, much more all at your fingertips--including a virtual exhibit hall! Registration opens on June 15, visit IHS53.com for all registration information. Don't miss this chance to celebrate Our One Horn Community!
Christoph Eß, Representative for Germany
La llegada de la trompa francesa a Colombia y por qué le llamamos “Corno”
Luis Fernando López Muñoz Profesor de Corno de la Universidad de Caldas (Manizales, Colombia) English version
El siguiente artículo es el resultado de una investigación histórica que se basa en hechos, bibliografías y documentos para trazar el hilo conector del corno francés desde Europa hasta su llegada a Colombia. A partir de este documento, el autor presenta el proceso que vivió este instrumento musical en Colombia desde el tiempo de la Colonia hasta el Siglo XX, tomando en cuenta los aspectos históricos, geográficos y culturales que permitieron la introducción del corno en estas tierras a través de las orquestas sinfónicas y bandas de la época.
El Corno Europeo y su llegada a Colombia.
Como parte de los procesos de colonización que vivió el continente Americano, la Corona española y sus nobles trataron de replicar la cultura y las costumbres de su madre patria en los nuevos territorios americanos. Tras la conquista y con la imposición de la iglesia cristiana, la música española llegó a Nueva Granada de la mano de nobles y ricos terratenientes, que pagaban a los directores para organizar conciertos, bailes y fiestas, no solo con fines religiosos, sino también sociales. El corno para ese momento fue llamado por su nombre español “Trompa”. Llegó a Colombia en 1783 aunque muchos músicos piensan que su aparición ocurrió en el siglo anterior. Al contrario de lo que cabría esperar, el corno en Colombia tiene una historia bastante extensa. Su primer uso fue documentado durante el período colonial en el siglo XVIII.
Los libros de historia de la música colombiana confirman que el corno apareció en el país por primera vez en 1783 como parte de una orquesta española. Esta orquesta solía interpretar “Tonadillas” (piezas cortas con diálogos, representaciones teatrales y algo de música y bailes), que generalmente duraban unos 30 minutos. Estas representaciones fueron...
Though the May 31 deadline has passed, it’s not too late to add your company or service to our impressive list of exhibitors! Watch this video for loads of useful information, presented by IHS53 Exhibits Coordinator, Tawnee Lynn Lillo.
IHS 50th Anniversary Commemorative Volume - Jeff Snedeker, editor
A Chat with the members of IHS Student Advisory Council
I would be interested to know how you have been pursuing your studies throughout the pandemic. How have you been keeping music in your life?
What are your personal goals and aspirations for the future?
Clearly, you love horn but what in particular drew you to becoming part of IHS and the Student Advisory Council?
I've been keeping music in my life during the pandemic by signing up for as many online events (masterclasses, talks, concerts) as possible. For me, having these external obligations helps me stay motivated and inspired. My goal is simply to continue playing horn throughout my life - and to see a lot of places and meet a lot of people while doing so. This fall, I am starting my master's in the UK, and I am excited to see what is different (and the same!) about musical life and horn playing there.
The IHS was introduced to me when my former teacher Dr. Scharnberg asked students to help stuff Horn Calls into shipping envelopes. I thought it was so cool that the IHS connected horn players around the world - not just professionals, but all lovers of the instrument - and I was eager to become more involved when the Student Advisory Council was created.
Throughout the pandemic, I've been studying remotely, getting lessons from Prof. Williams and Prof. Boen. I've also occasionally played for my high school private teacher as we felt comfortable seeing each other. I've been doing more recording than I have done in the past, making recordings for horn studio class. This has really benefited my playing and built my experience using technology. For our freshman recital, I was planning to record Bozza’s “En Forêt” with a pianist who lives near me, but then the crazy snowstorm hit Texas and everything kind of shut down. Instead, I was able to get a recording of the piano part and edit it together with my horn playing. That kind of audio editing was...
Sobre o quarteto: Este quarteto foi criado no ano de 2020 com o objetivo de levar a música a toda a parte do nosso país. Fazendo concertos em zonas históricas e antigas de Portugal. Também defende um ideal de que a música não se situa apenas em algumas épocas históricas daí, também ter um grande interesse em levar a música pouco conhecida até aos seus espetadores, enriquecendo assim o conhecimento dos mesmos e dando voz a grandes compositores que ainda são pouco conhecidos. Este quarteto tem como objetivo fazer concertos pedagógicos para os seus ouvintes falando um pouco da zona onde acontece o concerto e comentando todas as obras que serão interpretadas, valorizando assim as zonas em que participam e também motivando o interesse do público pela cultura. Este tipo de formação é muito versátil e pode ser usado em inúmeros tipos de eventos e projetos. Todos os elementos são dotados de excelentes condições técnicas e musicais, tendo todos os estudos e competências para a execução do seu instrumento, como se pode verificar pelos seus currículos. Atualmente, o grupo já realizou alguns concertos, onde obteve comentários muitos positivos em relação ao seu trabalho. Futuramente o grupo pretende fazer certos eventos, tais como, casamentos, batizados, inaugurações, música para crianças, música em locais históricos e participar em vários eventos culturais. Um dos projetos idealizados pelo quarteto será percorrer todas as partes histórica e culturais de Portugal, ajudando assim a sua dinamização e a sua visibilidade perante a população.
It’s time once again to test your knowledge of all things horn! This month’s movie-soundtrack-themed questions come to us courtesy of Andrew Bain, no stranger to the art form himself. We will award three prizes from our fantastic IHS53 shop, randomly selected, to the winners. Please send your answers to firstname.lastname@example.org by June 15. We will publish the names of the winners and the correct answers on our IHS social media outlets. Good luck!
Where did John Williams record the scores to the final 3 Star Wars Movies?
Studio One, Abbey Road Studios, London
The Barbara Streisand Scoring Stage, Sony Pictures Studios, Los Angeles
Smecky Music Studios, Prague
The Newman Scoring Stage, Fox Studios, Los Angeles
Walt Disney Concert Hall, Los Angeles
What is the most prominent model of Horn used in the Hollywood Studios
Which 2 was the score of the new West Side Story movie recorded?
Most people enjoy watching children play. Children live in the moment, unconcerned about anything except what they are doing. Somewhere in the musical development of aspiring young performers, many students are trained away from the simple concept of play by what teachers call practice—the tedious routine revisited at “that” time of day and monitored by a clock that seems not to move—when we pull out the Kopprasch and reinitiate the chore of repetition, hoping we can pick up where we left off yesterday but disappointed when we find that there is ground to regain. There is little joy in this and little progress much of the time (and often little encouragement from parents who audibly bemoan the “wasted investments” made into little Johnny or Sally’s “artistic development”), so there is little motivation for the student to continue. Is it any wonder that retention rates are so low in school music programs and even in lesson studios?
Rote practice has its place—that is another discussion—yet we are, fortunately, living in a time of wonderful and inspiring transition. Everyone seems to be looking for ways to keep themselves motivated in addition to keeping students not only involved, not merely just interested, but actually eager to come to rehearsals and, better yet, to practice their assigned materials at home or in the practice room. The trend I have seen—in offerings like Karen Houghton and Janet Boyce Nye’s Recipe for Success, the books and Horn Call columns on creative playing by Jeffrey Agrell, the “excerpt etudes” by Brett Miller and others, and more writings, presentations, and performances by Pip Eastop, John Ericson and Bruce Hembd, Arkady Shilkloper, and numerous others…not to mention the wonderful jazz improvisations, pop-song covers, and multi-track arrangements of all sorts of music by players from around the world which have...