Marie-Luise Neunecker has excelled as an orchestral musician, soloist, and teacher. She has won competitions, served on competition juries, and recorded concertos and chamber works. Among her premieres is György Ligeti's Hamburgishes Konzert, which was composed especially for and dedicated to her.
Marie-Luise was born in 1955, first studying musicology and German, then completing her horn studies with Erich Penzel at the Hochschule für Musik Köln. Her playing career began with the Frankfurt Opera. In 1979 she was appointed principal horn with the Bamberg Symphony, followed by principal horn with the Frankfurt Radio Symphony (1981-1989).
Marie-Luise won the German Music Competition in Bonn (1982), ARD International Music Competition in Munich (1983), and Concert Artists Guild competition in New York (1986), and was awarded the Frankfurt Music Prize in 2013. She has appeared as soloist with orchestras around the world.
In addition to the Ligeti concerto she has recorded works by Mozart, Strauss, Britten, Hindemith, Gliere, Glazunov, Schoeck, Shebalin, Koechlin, and Smyth. Volker David Kirchner dedicated Orfeo for baritone, horn, and piano to her. She has participated in festivals including Salzburg, Schleswig-Holstein, Marlboro, Aldeburg, Risör, and Vienna.
Marie-Luise was appointed professor at the Frankfurt Academy of Music and Performing Arts in 1988 and has been professor at the Hochschule für Musik Hans Eisler in Berlin since 2004. She wrote about preventing dystonia in the May 2017 issue of The Horn Call and was a featured artist at the 2017 IHS International Symposium in Natal, Brazil. She was elected an IHS Honorary Member in 2017.
Nancy Jordan Fako
Nancy Jordan Fako (born 1942) became a member of the Chicago Symphony in 1964, the first female horn player in a major orchestra since Helen Kotas left the Chicago Symphony in 1948. She was also a mainstay of the IHS in its early years, becoming Secretary-Treasurer and handling correspondence and records, all without the aid of computerization until 1976 or of an executive secretary until 1979. The IHS is incorporated in Illinois because it was Nancy’s residence. She served four terms on the Advisory Council (1974–1981 and 2000–2008) and was secretary-treasurer in 1974-77 and 2000-2008.
Nancy studied with Philip Farkas in high school and at Indiana University, collaborated with him on The Art of Brass Playing, remained a close friend and colleague throughout his life, and after his death (at the request of his widow) wrote a biography, Philip Farkas & His Horn: A Happy, Worthwhile Life (Crescent Park Music Publications, 1998).
In addition to the Chicago Symphony, Nancy has been a member of the Houston Symphony, the Florida Symphony, and the Chicago Lyric Opera Orchestra. She was principal horn in the Florida Symphony at age 20, the first female brass player in the Houston Symphony at age 21, and a member of the Chicago Symphony at age 22.
Nancy is now a freelance horn player and teacher. She plays the alphorn at many festivals, including taking part in the Alpenfest in Gaylord, Michigan for over 25 years. She has contributed to professional journals (including The Horn Call) as a writer and as translator for several languages. She translated Daniel Bourgue's Conversations About the Horn from French to English.
Nancy received the Service Medal of Honor in 2012 and was elected an Honorary Member in 2016.
Paul Anderson (1922-2015)
Paul Anderson has been a music educator and has served the IHS on the Advisory Council, as secretary and president, and by setting up the early IHS computer system.
Paul received a Bachelor of Arts degree (1945) and a Master of Arts degree (1947) from the University of Iowa. At UI, he studied horn with the very capable William Gower. He taught horn at the University of Iowa for over 40 years (1948-1989), performing with the University Woodwind and Brass Quintets, and playing principal horn in the Tri-Cities (now Quad-Cities) Symphony in Davenport IA. During his first years of teaching, he also traveled to Evanston IL to study horn with Philip Farkas. Reflecting on what he received from Farkas and Gower, Paul says, "I owe these two wonderful gentlemen more than I will ever be able to explain." Later, Paul was the administrative head of the Brass and Woodwind areas in the School of Music at UI for a number of years before his retirement.
Along with various other duties, Paul’s main job was to teach private lessons to the horn students, and he had many fine students throughout his tenure. Many former students hold important teaching jobs in universities around the United States and Canada, and he also had many hard-working students that were uniquely qualified for public school teaching.
Paul's legacy also includes two publications: Index to Current Brass Literature (1976) and Brass Music Guide: Solo and Study Material in Print (1986). He prepared the computer programs for the last three Instrumentalist Band Music Guides, and helped to prepare the University of Iowa’s Music Source Book: Woodwind, Brass, and Percussion Materials.
Paul supervised many horn-related graduate dissertations, and his former doctoral students include several current and past Advisory Council members and IHS Presidents, including Randall Faust, William Scharnberg, and Virginia Thompson. Two other great horn players and IHS members received doctoral degrees at the University of Iowa during Paul’s tenure, James Winter and Marvin Howe. While Paul does not feel he can claim them as his students, he says he learned a great deal from his association with them during and after their study at UI.
Paul served on the IHS Advisory Council from 1977 to 1983. During that time, he was IHS Computer Coordinator (placing the membership rolls on computer and generating mailing labels), Secretary, and from 1980-1983, IHS President. During that era, he was responsible for the codification of many policies that are in place today. He was elected an Honorary Member in 2001.
When contacted about receiving this award, Paul said, "I want to thank the committee members who selected me as an Honorary Member of the International Horn Society. Since its inception, the IHS has selected only about forty people from fourteen countries to this position so it is truly a great honor to be so selected. When I read the names of the other people who have been so honored, I feel very humbled. I shall cherish this appointment as long as I live."
Julie Landman is widely known and admired for her 25 years as principal horn of the Metropolitan Opera Orchestra, teaching at Juilliard, master classes at horn workshops, and as a proponent of the Carmine Caruso method. She has been a mentor and role model to many young horn players.
Julie was born in 1953 and aspired to play at the Met after attending the opera and hearing Howard T. Howard playing principal. She studied at Juilliard with James Chambers, Howard T. Howard, and Carmine Caruso. After serving as co-principal in the Houston Symphony, she won the position of principal at the Met from behind a screen through the audition finals, saying later that she was convinced that she would not have won without the screen.
At the Met, Julie specialized in the demanding Wagner and Strauss operas, but has also been active in summer chamber music festivals. She premiered Gunther Schuller’s Quintet for horn and string quartet in 2009.
In 2015, retired from the Met, Julie is still actively teaching and playing.
Michel Garcin-Marrou has combined a distinguished performing career with pedagogy and served two terms on the IHS Advisory Council (1998-2004). He has a special interest in historical instruments of the Baroque and Classical periods and reinstated the hand horn class at the Conservatoire National Supérior de Paris that had been disbanded a hundred years ago.
A native of Genoble, Michel earned a degree in Philosophy and a first prize in horn at the Conservatoire de Grenoble, then continued his studies under Jean Devemy at the Conservatoire in Paris. After two years of service in a military band, he won first prize at the Geneva International Horn Competition in 1965 and went on to play in several orchestras, including principal horn in the Orchestre de Paris. Later he performed with many European period instrument orchestras.
Michel has taught at Conservatoires in Lyon and Paris, participated in symposiums and workshops, and is researching a book on the history of the French horn and horn players of France.
Gunther Schuller (1925-2015)
"Scholar, composer, conductor, teacher, author, music publisher, indefatigable advocate − Gunther Schuller isn't merely a musician, he's a monopoly." This description by Alan Rich in New York Magazine summarizes the multi-faceted career of this Pulitzer Prize-winning practitioner of the 28-hour day. Schuller coined the term "third stream" to describe the union of jazz and classical music − a clue as to how he straddled and combined the two genres.
The son of German immigrants, Gunther Alexander Schuller was born in New York in 1925, appropriately enough on St. Cecelia Day, patron saint of musicians, November 22nd. After attending a private school in Germany, where an accident resulted in the loss of one eye, he returned to New York and enrolled at the St. Thomas Church Choir School, where he studied music and sang as a boy soprano. He also began to study flute and horn, and was engaged by the New York Philharmonic as a substitute hornist when he was 15. During his high school years, he also studied music theory and counterpoint at the Manhattan School of Music. He joined the Cincinnati Symphony as principal horn at age 17 and the orchestra of the Metropolitan Opera at age 19, where he played for 15 years. Although he was mostly hired as principal horn, Schuller later said that he loved playing fourth horn. He balanced his performing and composing careers by composing all night after playing opera performances. But by 1959 his schedule had become too arduous, and he decided to give up performing to devote himself more fully to composition.
At the age of 25, Schuller taught horn at the Manhattan School of Music, beginning a distinguished teaching career; his positions have included Professor of Composition at the School of Music at Yale (1964-67), President of the New England Conservatory of Music in Boston (1967-77), Artistic Director of the Tanglewood Berkshire Music Center (1970-1984), the Spokane Bach Festival, and The Festival at Sandpoint (Idaho), and Co-Director of the Smithsonian Jazz Masterworks Orchestra. His love of a wide range of American music guided the activities of his publishing and recording companies, Margun Music (now part of G. Schirmer) and GM Recordings.
Schuller is acknowledged as father of the Third Stream movement. He became interested in jazz in Cincinnati, primarily through the music of Duke Ellington, which he transcribed from recordings and arranged for the Cincinnati Pops. He was actively involved in the New York bebop scene, performing and recording with such jazz greats as Dizzy Gillespie, Miles Davis, and pianist John Lewis. He wrote a series of works to perform with Lewis, with both the Modern Jazz Quartet and a larger ensemble, the Modern Jazz Society. Typically, in these collaborations, Lewis would lead a jazz ensemble augmented by strings or woodwinds, which Schuller conducted. Schuller worked with Arturo Toscanini, Miles Davis, Aaron Copland, Ornette Coleman, Leonard Bernstein, Eric Dolphy, Charles Mingus, John Updike (librettist for Schuller's opera The Fisherman and His Wife), Joe Lovano, Elvis Costello, Wynton Marsalis, Frank Zappa, and others. “The Third Stream movement,” he once said, “inspires composers, improvisers and players to work together toward the goal of a marriage of musics, whether ethnic or otherwise, that have been kept apart by the tastemakers − fusing them in a profound way. And I think it’s appropriate that this has happened in this country, because America is the original cultural melting pot.”
Schuller created original compositions in virtually every musical genre, including commissions from the Baltimore Symphony, Berlin Philharmonic, Boston Symphony, Boston Musica Viva, Chicago Symphony, Minneapolis Symphony, National Symphony, and the New York Philharmonic. Commissions include his 1994 Pulitzer Prize-winning work Of Reminiscences and Reflections for the Louisville Orchestra; An Arc Ascending for the American Symphony Orchestra League and the Cincinnati Symphony; The Past is in the Present, also for the Cincinnati Symphony; a Sextet for Leon Fleisher and the Kennedy Center Chamber Players; Brass Quintet No. 2 for the American Brass Quintet; an Organ Concerto for the 1994 Calgary International Organ Festival; and Ritmica-Melodica-Armonica for the Newton Symphony Orchestra. In 2010 the Boston Symphony commissioned a large work, Where the Word Ends, and in 2014 performed his earlier Dreamscape in Boston and New York. He composed to the end of his life.
Schuller was self-taught as a composer. He was partial to the 12-tone methods of the Second Viennese School, but he was not inextricably bound to them. Arnold Schoenberg and Duke Ellington were both musical lodestars. Schuller used serial technique in most of his compositions, and in fact used the same tone row in a number of diverse works. He wrote for unusual instrumental combinations, such as a Symphony for Brass and Percussion, quartets of four double basses and four cellos, more than 20 concertos, including for double bass, contrabassoon, alto saxophone, and a Grand Concerto for Percussion and Keyboards.
Schuller gathered together a lifetime of observations on conducting in his book The Compleat Conductor (Oxford University Press). His extensive writings, on a variety of subjects ranging from jazz through music performance, contemporary music, music aesthetics, and education, have been issued in Musings: The Musical Worlds of Gunther Schuller. His monumental jazz history, The Swing Era, was published in 1989. In 2011 he published an autobiography, Gunther Schuller: A Life in Pursuit of Music and Beauty. He wrote an article on the Brahms Horn Trio weeks before his death.
Among Schuller's many awards are: a MacArthur Foundation “genius” Award (1991); the Pulitzer Prize (1994); inaugural Member of the American Classical Music Hall of Fame; DownBeat Lifetime Achievement Award; the Gold Medal for Music from the American Academy of Arts and Letters (1997); the BMI Lifetime Achievement Award (1994); the William Schuman Award (1988) given by Columbia University for "lifetime achievement in American music composition"; and several Grammy Awards. Though a high school drop-out, Schuller also received twelve honorary degrees from various colleges and universities. “As a composer and teacher,” composer Augusta Read Thomas, the chairwoman of the selection committee for the MacDowell award, said at the time, “he has inspired generations of students, setting an example of discovery and experimentation.”In 2000, the IHS elected Schuller an Honorary Member for his lifelong contributions to music and the horn. When contacted about the award, he said, "This is a special honor for me because I haven't played the horn since 1963. I am very grateful to be so honored in the company of many other great horn colleagues."
While his numerous contributions to the larger music world are widely known, perhaps Schuller's best known contribution to the horn world is his book Horn Technique, first published in 1962 and later re-issued by Oxford University Press. His compositions, covering a full range of musical genres, have included or featured the horn in almost every one. In addition to his challenging large ensemble works, he composed numerous chamber works including horns in traditional settings (e.g., brass quintets) and innovative combinations, and as featured instrument: two horn concertos, a horn sonata (commissioned by the IHS), Lines and Contrasts for 16 horns, Five Pieces for Five Horns (recorded by Barry Tuckwell and the NFB Horn Quartet), and the Quintet for horn and strings (co-commissioned by the IHS, the Santa Fe Chamber Music Festival, Chamber Music Northwest, and the La Jolla Music Society and premiered by Julie Landsman and the Miró Quartet in 2009).
In the final pages of his memoir, Schuller wrote: “All I can say for myself is that I at least have tried hard to use my all too brief time on this planet as fruitfully as possible, as productively as I could imagine…. The only thing about the prospect of dying that upsets me – that I grieve over – is that I will never again hear all that beautiful music that I have come to know and love. But then some people tell me that I will, in fact, hear all that music – and more – in the afterlife.”
Material from The Boston Globe and New York Times obituaries is included here.
Adriaan van Woudenberg
Adriaan van Woudenberg was the solo hornist in the Royal Concertgebouw Orchestra in Amsterdam for 41 years and also the hornist in the Danzi Wind Quintet, one of the most highly regarded quintets active in the 1960s and 1970s. He was also an exponent of the natural horn.
Woudenberg was born in 1925 in Amsterdam and studied horn at the Conservatory there with Richard Sell. In 1943 he won a position in the Concertgebouw Orchestra and was promoted to solo horn in his second year, a position he held until 1985.During his tenure in the orchestra, he devised the system of co-principals that has become standard throughout the world.
Woudenberg made many recordings with both the orchestra and the quintet and collaborated with Hermann Baumann in recordings of natural horn. Many composers wrote works for the quintet, including Rob du Bois, Peter Schat, Ton de Leeuv, Misha Mengelberg, and Josef Tal.
Woudenberg has taught at the conservatories of Maastricht, Tilburg, and the Sweelinck Conservatory in Amsterdam. His students include Fergus McWilliam, Sören Hermannson, Peter Steinmann, and Herman Jeurisson.
Woudenberg was elected an IHS Honorary Member at the symposium in London in 2014.
Phil Myers, a native of Elkart, Indiana, has been principal horn of the New York Philharmonic Orchestra since 1980 and a member of the New York Philharmonic Principal Brass Quintet. He frequently solos with the orchestra and and at other venues and has recorded as soloist and with members of the horn section.
Phil started piano at age 8 and horn at age 9. He studied with Frank Brouk and Dale Clevenger, then with Forrest Standley at Carnegie Mellon University (on Clevenger’s recommendation). He was principal horn of the Atlantic Symphony in Halifax, Nova Scotia (1971-1974), third horn with the Pittsburgh Symphony (1974-1977), and principal horn of the Minnesota Orchestra (1978-1980) before joining the New York Philharmonic. Dennis Brain and Myron Bloom were early influences.
Phil is currently a faculty member at Mannes College, New York University, and the University of Music Lausanne in Fribourg, Switzerland. At one point he owned 17 instruments; currently three or four. He was known for playing Conn 8Ds for years, but later switched to an Engelbert Schmid triple horn.
Phil was elected an Honorary Member in 2014 at the IHS Symposium in London, where he and the New York Philharmonic horn section performed a recital and the Schumann Konzertstück.