Siegfried Schwarzl (1917-2000)
|(front) Leipzig Horn Quartet; (rear) Wiener |
Waldhornverein (Siegfried Schwarzl, far right)
Siegfried Schwarzl was a member and director of the Wiener Waldhornverein (WWV – Vienna Horn Society) and an authority on its history. He was president of the society at its 100th anniversary in 1983 and wrote a book (published in English in 1987) entitled, "The development of horn ensemble music from the romantic era to the present time in Vienna and in other cultural circles."
Schwarzl studied horn with Gottfried von Freiberg and became a member of the Vienna State Opera orchestra, but his music career was interrupted with military duty during the war. Afterward, he directed the stage band of the State Opera, but also studied climatology and became a respected climatologist. He particularly loved the Vienna horn, horn ensembles, and the Vienna Horn Society.
Schwarzl was a member of the IHS Advisory Council (1982-1989). He was honored with the Punto award at the 1985 International Horn Symposium at Towson State University in Baltimore MD, where he gave a lecture/demonstration on the development of horn ensemble music and the Vienna horn. His article about the International Symposium for Brass Instrument Players' Chamber Music in Hungary appears in the October 1985 issue of The Horn Call.
Arthur Bevan (1927-2011)
Arthur Bevan has always been greatly respected as a horn player and for his unflappable professionalism. He has been described as "kindly, gentle, and good humored."
Bevan was born in 1927 in Ceylon (now Sri Lanka) and attended the Kingswood School in Bath, where the housemaster, Dr. John Wray, encouraged the boys to listen to Sunday afternoon war-time concerts on the radio. "He probably doesn't realize his influence on me to this day," said Bevan. Bevan started horn because of a spare instrument being available at the school. The headmaster tried to discourage him from being a musician, but then advised him, "If you must, then get a good teacher."
Bevan studied while on school holidays in Bramhall with Otto Paersh, an influential teacher and son of Franz Paersch, who had been brought to Manchester in 1888 as principal horn of the Hallé Orchestra. Bevan continued with Paersh at Royal Manchester College on scholarship in 1950 after two years of National Service in the band of the South Staffordshire Regiment.
Bevan and his father were at the Hanley train station (not far from their home in Stoke) waiting for the train after a concert when his father introduced him to Sir John Barbirolli.
Bevan's first professional engagement was as second horn in the Buxton Spa Orchestra. In 1949, while still a student, he received a telegram from the Hallé manager to help out for a Saturday night concert. He auditioned for Barbirolli two days later and retired from the orchestra forty years later, in 1989. He played third horn and first when required. He was named assistant first in 1969.
Barbirolli told a new, young horn player, Enid Roper, "You'll be sitting next to Arthur Bevan; I think you'll get on." They got on well enough to be married for many years, until her death in 1990, after which Bevan moved to Wales.
During his career, Bevan also played with the City of Birmingham Symphony, the Royal Liverpool Philharmonic, and the BBC Northern Symphony orchestra. Asked about the best horn player he has ever heard, he named Dennis Brain. "He has such beautiful technique and phrasing, absolutely natural," said Bevan.
Stephen Stirling, who played the Hallé from 1979-1982, says, “I loved Arthur and treasure memories of him in boring rehearsals, awaking from apparent deep sleep, to tell me, without fail, the exact bar that we were in. He had a kind word for everyone and was a model of professionalism.”
Bevan was honored with the Punto Award at the IHS workshop in Manchester, England in 1992. A profile appears in the October 1992 issue of The Horn Call and other articles appear in the Hallé Magazine in April 1984 and May 1989. An obituary appears in The Horn Player, Spring 2012.
Richard Theurer (1913-2003)
Richard Theurer was fourth horn in the Bavarian State Opera Orchestra (Munich) in a section led by Hans Pizka, which played the premiere of Strauss's opera Capriccio in 1942, under Clemens Krauss, and the first recording of the Alpine Symphony, under the composer.
Theurer was born in 1913 and studied with Josef Suttner. He worked in Bern, Switzerland, then joined the Bavarian State Opera Orchestra in 1937. He retired in 1976.
Theurer was honored with the Punto Award at the IHS symposium in Munich, Germany in 1989.
Ludwig Heibl (1911-1997)
Ludwig Heibl was second horn in the Bavarian State Opera Orchestra (Munich) in a section led by Hans Pizka, which played the premiere of Strauss's opera Capriccio in 1942, under Clemens Krauss, and the first recording of the Alpine Symphony, under the composer.
Heibl was born in 1911 and studied with Josef Suttner. He played first in a police band, then joined the Bavarian State Opera Orchestra in 1937. He retired in 1976. His younger brother Walter was a flutist and professor of flute.
Heibl was honored with the Punto Award at the IHS symposium in Munich, Germany in 1989.
Stefan Ruf is a soloist, chamber musician, teacher, and jurist in Switzerland.
Stefan studied in Basel with J. Brejza, in Detmold, Germany with Michael Höltzel, and in Cologne, Germany with Erich Penzel. His chamber music playing includes the Orpheus Quintet, for which many composers have written and dedicated works.
Stefan teaches young students at the Basel and Zürich conservatories, and his students are regularly successful in competitions. He has developed a system of starting children as young as five years old on single B-flat horns. Stefan also serves on competition juries.
Stefan was honored with the Punto Award at the 2007 International Horn Workshop in La Chaux-de-Fonds, Switzerland.
Joseph White was one of the founding members of the International Horn Society, worked with Bill Robinson in organizing the first International Horn Workshop in 1969, and spent most of his career teaching horn and theory at Florida State University. "He was a truly wonderful person and a very thorough teacher in everything that he did," says Bill.
Joe attended Curtis Institute in Philadelphia with Mason Jones, James Chambers, and Joseph Eger, studying with Anton Horner, whom he greatly admired. He later earned a doctorate at the University of Michigan and immediately started teaching at Florida State, where he also took on many administrative duties. He even worked part-time after his retirement until his death while working in his office on a Saturday.
Joe was an IHS Advisory Board member (1971-1974). He led the committee to draft the constitution for the IHS in 1971, appointing Alex Grieve, Michael Höltzel, Harry Hoffman, Robert Marsh, Lowell Shaw, and James Winter to work with him. He was honored with the Punto Award at the 25th IHS symposium in Tallahassee FL in 1993.
Robert Edward Creech has been a professional horn player, a teacher, and an arts and education administrator. He migrated from western Canada to Ontario, then on to England, and finally to Ireland.
Creech was born in Victoria BC in 1928. He earned a BA in history and music in 1954 and an MM in history in 1974 at the University of British Columbia. He also studied at the University of Manitoba. He and Eugene Rittich studied horn with Douglas Kent in Victoria during the 1940s.
Creech played in many Canadian orchestras: Victoria, Winnipeg, Vancouver, Toronto, and CBC symphony orchestras, and the CBC Vancouver Chamber Orchestra. He performed widely as a soloist in Canada and the US and recorded with the Baroque Strings, the Vancouver Woodwind Quintet, and the Purcell String Quartet. While principal horn with the Vancouver Symphony (1958-1976), he was chairman of the Music Committee of the Vancouver Arts Council, which established the Vancouver Academy of Music and restored the Orpheum Theatre.
Creech taught at the University of British Columbia, was founder and first chairman of the music department of Vancouver Community College, and was music director (1970-1985) of the Courtenay Youth Music Centre, now called Comox Valley Youth Music Centre, on Vancouver Island.
Creech became professor and chairman of the Performance Department at the University of Western Ontario in 1976. In 1987, he was appointed Vice Principal and Director of Planning of the Royal Conservatory of Music, implementing its the transition from a division of the University of Toronto into an independent institution. He was a also director of the Canadian Music Council and chairman of the Arts Advisory Council of the Canada Council. He and G. Campbell Trowsdale wrote a report on Orchestras Ontario (1988) and Independent and Affiliated Non-profit Conservatory-type Music Schools in Canada (1988).
Creech became chief executive of the Royal Liverpool Philharmonic Society in England in 1991, overseeing the Royal Liverpool Philharmonic Orchestra, the Royal Philharmonic Choir, Philharmonic Hall, and the Merseyside Youth Orchestra. In 1994, he moved to Ireland, where he manages an international arts consultancy, Arts Services Partnership. He volunteers as Artistic Director of Summer Music on the Shannon, a summer music school and festival.
Creech received the Punto Award at the symposium at the Crane School of Music in Potsdam NY in 1988.
Clyde Miller elided a forty-year playing career into a thirty-year teaching career at North Texas State University (1954-1984), now the University of North Texas. Clyde is justifiably proud of his teaching career: his students have won IHS competitions and are playing in major orchestras and teaching at universities.
Clyde was born in 1917 and raised in Downers Grove, a suburb of Chicago. His music training started with piano. He began playing horn in the sixth grade – he "wanted something to blow." He progressed from a mellophone, then to a Conn single F horn.
Clyde's greatest early influence was Louis Dufrasne, with whom he studied for six years, from his second year of high school through a BME degree at Northwestern University. Dufrasne taught few students, but another of his students at that time was Philip Farkas. The basic warm-up that they both learned is published in Farkas's The Art of French Horn Playing. Clyde attributes his love for a singing, flowing style of playing and his method of teaching to Dufrasne.
Carl Geyer made a matching pair of double horns in 1924; Dufrasne bought one and Clyde the other. Clyde played this horn his entire career. When Dufrasne died in 1941, Clyde purchased the matching horn from his widow.
Clyde played his first professional job after his sophomore year at college as principal horn in a Grant Park concert with Max Pottag on second. In his senior year, Clyde performed the Strauss Concerto No. 1 with the student orchestra.
|Bill Scharnberg, Clyde Miller and UNT Music Dean James Scott |
at Miller's 90th birthday celebration
Clyde joined the Indianapolis Symphony immediately after graduation, where he was assistant principal to Frank Brouk, and later third, then co-principal. He played for three-and-a-half years in a US Army band ("time spent") during World War II. Upon discharge, he earned at master's degree from Columbia University's Teacher's College, completing it in 1947. He free-lanced in New York City, with connections through Richard Moore, principal horn at the Metropolitan Opera Orchestra, and conductor Leon Barzin. He also toured with a brass quintet and in a trio, performing the Brahms Trio, and started a long association with the Asbury Park Municipal Band, returning during summers until he became principal in the Central City (CO) Opera, and later played in Dallas and Fort Worth musicals.
Clyde auditioned in 1948 for Antal Dorati, conductor of the Dallas Symphony, and won the principal horn position, where he played until 1963. He started teaching at North Texas State University in 1954, becoming full-time in 1963, still performing with the Fort worth Symphony for nine years. He was a member of the faculty wind quintet and performed solos with the band.
A scholarship in Clyde’s name supports horn students at the University of North Texas. Clyde was honored with the Punto Award at the 1991 IHS symposium in Denton TX. A profile appears in the April 1984 issue of The Horn Call.