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Valencia 2004

Suzanne Langor


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Hermann Baumann, Tompodor
Valencia: a place of sunshine, palm trees and endless beaches; a place of interesting culture and flavorful foods; a place that will always hold a special place in my heart. The 36th IHS Workshop in Valencia was a week I will never forget. the high caliber of playing, the many interesting concerts at state of the art facilities, and the friendships that were made, left me counting down the days until the next workshop. In the surroundings of over 400 other horn players, I often forgot to introduce myself when talking to someone new because I had the feeling that I already knew everybody. Horn players share a common bond that makes us all one big family.

The concerts of course are the highlight of any workshop. My favorite phrase to say after every concert was "if this were the only concert I heard all week, it would have been well worth the visit." I will not list and comment on all the excellent concerts, to do so would need many pages, but a few that will remain at the top of my list for a long time are: the opening concert with Hermann Baumann: I feel very privileged to have heard The Great Master play; Frank Lloyd: his ease and power; Bruno Schneider: his depth of expression and magnetic personality; Esa Tapani: his undeniable musicality; Miklos Nagy: his amazing control of the instrument; Allegrini: his purity of sound; American Horn Quartet and their wonderful stage presence; and the Budapest Horn Quartet.

I was also privileged to take lessons with Joseph Ognibene and Bruno Schneider, where I learned so much. They have been a model of inspiration that makes me wish I could become a full time student again. Playing in the massed horn choir on the final day under the baton of Hermann Baumann was another inspiration. Great history was made that day.

Thanks to Javier Bonet for allowing us to partake of this incredible musical event, one that was an enriching, gratifying, unforgettable human experience. Well, until next time, I have lots to keep me busy in the practice room, many great recordings to listen to, wonderful photos to look at, dear friends to correspond with, and fond memories from the 36th workshop in Valencia.

Suzanne Langor free-lances and teaches horn in Edmonton, Alberta, Canada.

Tuscaloosa 2005

Some images from Tuscaloosa

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For information on recordings from the event please visit http://www.candlewooddigital.com. Email inquiries to Email住址會使用灌水程式保護機制。你需要啟動Javascript才能觀看它

Cape Town 2006

Marilyn Bone Kloss


"Brilliant," "fabulous," and "inspiring" were some of the adjectives heard from South Africans about the symposium; "one of the best ever" was the consensus of the IHS Advisory Council, whose members have attended many previous symposiiums.

"This workshop will take a special place in IHS history," stated Bruno Schneider, host of the 2007 symposium and one of the this year's stars. "It was truly international." 

Andre Valentine
Andre Valentine
Andre Valentine, part-time university student, and Roger Small and Paul Wynand, both members of the South African Army Band, all agreed that it was exciting to see how horn players can play solos; they never knew how exciting the literature could be. "We can see the technical ability that can be achieved if you practice a lot," added Andre.

Cathy Kilroe-Smith (a South African studying horn at the University of Georgia) and her friend Alice Thomson (Durban) thought it was "great to have the symposium in South Africa." They also used the word "inspiring."

Professors Erik Albertyn (University of Port Elizabeth) and David Scarr (Rhodes University, Grahamstown) at first both opposed bringing the symposium to South Africa this year. They thought more time was needed to secure funding and to plan, that not enough local horn players were available for it to be successful, and that many local students would not be able to attend becausse it was their term time. Aftger Steven Horwood secured the bid, however, and eventually the South African Horn Society took over the organization, they supported the effort wholeheartedly.

"It will be easier to recruit with this success," said Erik. David has been doing much administrative work in recent years, but now is playing more. "The symposiium has been simply uplifting," he said. They used to have regional workshops, and now the newly-formed South African Horn Society is resolved to have an annual national workshop.

David has a violist colleague who attended all the concerts and pronounced them "absolutely fabulous." David also encouraged a euphonium student to attend. He felt that the symposium should have been marketed to all musicians because of what they could have gained from hearing world-class musicians, no matter what the instrument.

Some sessions were devoted to traditional South African music, which entranced the visitors. However, many of the local young people are not interested. Erik sees an opportunity to bring traditional music into the classical arena, to the benefit of both. He commissioned a work for horn choir through the IHS Mier Rimon Commissioning Fund, "Two for Erik" by S. Glasser, that uses kudu horns along with modern orchestral horns. "Bartok and others are a precedent for incorporating folk and vocal music intro instrumental works," Erik contended. "We don't want to go back to isolation between social groups."

The outreach program affected many attendees. Pamela Kierman (University of Stellenbosch) organized a day-long tour of schools (see a separate report by Jonathan Stoneman) described as "surprising, but affecting" (Joseph Ognibene, Iceland) and "fascinating" (Rose French, Tempe, AZ). Marshall Sealy, a free-lancer from New York City, put together a horn quintet to play at the schools. Marshall, in fact, raised money at the last minute to attend the symposium, brought a horn to donate, and has applied for a Fullbright grant to teach instrument repair workshops and study South African traditional music. Horns were also donated to the outreach programs by Chris Leuba and Kurt Vallenga, the Swedish Horn Society (presented by Anita Andersson), James and Cora Patterson, and Wallace Easter.

Caroline Van Renen, the only horn major at the University of Cape Town, was thrilled to have the symposium in South Africa, although she could not stay for the whole week because of school obligations. "I want to study with these artists," she declared. She plays in the South African Youth Orchestra, which rehearsed for days in July and is soon touring Europe.

Among the many highlights, most would agree that the Wednesday evening concert with the Cape Chamber Orchestra stood out. Frank Llyod played the Förster Concerto; Bruno Schneider, Mozart No. 4; Lisa Ford (Gothenburg Symphony Orchestra, Sweden), Larsson's Concertino for Horn and String Orchestra; and finally, a glorious performance of the Haydn Concerto for Two Horns with Bruno and Frank. Listing the works and performers does not do justice to the impeccable, lyrical playing and joyous atmosphere of the event.

The symposium was smaller than any for a number of years (about a hundred regisered attendees, with two or three times that many at the evening concerts), but many felt that the smaller numbers lent an air of intimacy that fostered grater interaction between all participants. It was truly a symposium to remember. 

Marilyn Bone Kloss earned BME and MM degrees in horn at Indiana University, taught public school music, and freelanced. Later she earned a degree in engineering from Northeastern University in Boston while working at Raytheon Company. She now works as a technical writer, plays in a community orchestra, edits a newsletter for hornists in the New England area, is an IHS Area Representative, and has served on the IHS Advisory Council.

La Chaux-de-Fonds 2007

Bill Scharnberg
Publications Editor, The International Horn Society


parforce.jpgBruno Schneider can not have been a better Symposium host. Rosie De Pietro and her son Yann were heroic in their efforts to help each of the participants. The attendance figures have not been advertised but there must have been 300-400 hornists – the concert hall was packed for many of the events and the photos of the Banquet show a large crowd!

 Bruno Schneider had two musical themes running through the week that may or may not have been apparent to the participants: music from the pen of Swiss composers and music written for or influenced by Dennis Brain, celebrating the 50th anniversary of his death. With all due respect to the Swiss, who are known for their banking, political neutrality, chocolate, watch-making, and alphorns, Swiss composers have not made a mark on the horn repertoire. While I sympathized with those performers saddled with a Swiss work destined or redestined for obscurity, the performances were universally superb.

Musical highlights of the Symposium included Peter Damm’s perhaps final performance as a horn soloist – a poetic rendition (at age 70) of Romance, op. 36 by Saint-Saëns, Souvenir à Dresde by Eisner, and Andante by Richard Strauss. This was performed in the middle of a Sunday evening Advisory Council horn ensemble performance, conducted by Damm and featuring his transciptions.

Monday evening we were dazzled by the Berlin Philharmonic horn section (Radek Baborak, Stefan Dohr, Stefan de Leval Jezierski, Norbert Hauptmann, Fergus McWilliam, Georg Schreckenberger, Klaus Wallendorf, and Sarah Willis), performing original works and transcriptions. We heard fantastic tone, range, technique, and accuracy, delivered with a dose of verbal humor throughout. The line for CD signing after the concert was long!

Tuesday evening we heard Jean Pierre Berry, Szabolcs Zempleni, Samuel Seidenberg, and Frank Lloyd. I could not say which of these performances I enjoyed the most: Berry’s fluency, Zempleni’s literature and impeccable playing, Seidenberg’s beautiful sound, or Lloyd’s unbelievable technique.

On Wednesday evening hornists performed with the excellent string quartet Sine Nomine. We heard stunning performances of Mozart’s Quintet (Eliz Erkalp), Meier’s Cordono (Ivo Gass), an anonymous baroque quartet (Bruno Schneider), and Beethoven’s Sextet (Eliz Erkalp and Esa Tapani)

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Newest Honorary Member Chris Leuba
Thursday was “Natural Horn day” and the  evening recital was interesting. Thomas Müller, Claude Maury, and Teunis van der Zwart performed before intermission. Although their literature was not extremely interesting, and the hand horn tended to sound “far away,” the three were very accurate and musical. After intermission we were treated to a “unique” performance of the Brahms Trio with Javier Bonet on hand horn. The audience heard three talented musicians playing different versions of the same work roughly at the same time.

  Friday evening was all about horn concerti as accompanied by the Neuchátel Chamber Orchestra, conducted by Jan Schultsz – kudos to both for doing a splendid job on some very difficult music! Peter Kurau, Ivo Gass, Frank Lloyd, and Samuel Seidenberg offered first-class performances of, respectively, Chabrier’s Larghetto, Malcolm Arnold’s Concerto No. 2, Hindemith’s Concerto, and the orchestral version of Schumann’s Adagio and Allegro. Louis Philippe Marsolais, however, stole the show with a memorized, flawless Schoeck Concert

Saturday, the final day of the Symposium, was dedicated to the alphorn. We traveled to another town by train to a large open-air venue. An alphorn work, composed and conducted by Bruno Schneider, was performed in F at the beginning of the performance, then F# at the end!  In the middle we heard an interesting alphorn and shell work with Nozomu Segawa and Javier Bonet, an alphorn and accordion duo with some fascinating works, and Arkady Schikloper perform alphorn “jazz” with a group of accompanying hornists.

The final concert included a performance by the voice/accordion and alphorn Duo Stimmhorn. It was quite unbelievable – during a thoroughly engrossing performance we heard vocal multiphonics from the accordionist and perfect circular breathing from the alphornist! After intermission the Neuchátel Wind Band accompanied various soloists as mentioned above. Although the horn playing highlights had been heard earlier in the week, it was nice to conclude the Symposium on a light-hearted Swiss note!

Denver 2008

The 40th International Horn Symposium was held on the campus of the University of Denver, July 22-27, 2008.

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Macomb 2009

The 41st International Horn Symposium
Western Illinois University

"A Place to Study: A Place to Play"

June 2-7, 2009

 

Highlights of the week will include, but not be limited to: 

  1. Opportunities for participants to study the various aspects of horn playing with Guest Artists and Distinguished Horn Teachers every day.
  2. Opportunities for exhibitors to discuss particular topics of horn study and playing every day in refereed panel discussions. 
  3. Opportunities for each participant to have directed playing experiences every day.
  4. Competitions in the categories of Solo Playing (Farkas, Hawkins Scholarships, etc.), Orchestral Playing (Frizelle), Horn Ensembles, and Jazz Solo playing.
  5. Clinics on specialized topics of technique, literature, and performance.
  6. Presentations by new and rediscovered hornists!
  7. Outstanding performances and presentations by Guest Artists and Contributing Artists of Solo and Chamber Music for the Horn.

For more information contact:
Randall E. Faust, Host, 41st International Horn Symposium
School of Music, Western Illinois University, Macomb, Illinois 61455
http://www.wiu.edu/horn

IHS 42 Brisbane

ihs42brisbane
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