Looking for Horn Ensemble Music? – Check out the Kumamoto Horn Ensemble!

Kumamoto Horn Ensemble (KHE)

Recently I came across the website of the Kumamoto Horn Ensemble, a Japanese group founded in 2000 (see picture at left, linked from their website). Their unassuming website is packed full of amazing arrangements for 4, 5, and 6 horns, as well as archived programs going back to their first concert. Many of their arrangements can be purchased from Corniworld Publications –  we’ve performed the 6-horn version of Finlandia here at ULM several times – but there are also quite a few available for FREE directly from their site. This spring we’ll be performing two of these: Shostakovich’s Festive Overture for 6 horns and Neuling’s Bagatelle for 4 horns and solo horn, both arranged by Takeshi Takahashi. They are difficult, but very good arrangements! To see the complete list of arrangements (free and paid), visit this page. In addition to the Shostakovich, there are many other substantial works, including Barber’s Adagio for Strings, several complete Beethoven symphonies, and Strauss’s Ein Heldenleben. There is enough music here to keep even the most ambitious horn ensemble busy for some time. To my knowledge, it’s the single largest source of free horn ensemble music anywhere. My suggestion is that if you like the free arrangements, visit Corniworld Publications and support the Kumamoto Horn Ensemble by purchasing one or more of their publications.

 

 

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Semester Preview: Spring 2019

I’m a few days late with this semester preview, but things have gotten off to a great start here at ULM. Here’s a brief overview of some of the exciting events happening this spring.

  • Brass Trio Tour: Black Bayou Brass began our semester with a three-day tour of Northwest Louisiana and East Texas. We performed for and worked with several great groups of students. In addition to a few run-out concerts to local schools this spring, we will be busy preparing for our annual faculty recital on April 17. Program details to come in a future post.
  • Guest Artists Galore: We often have multiple guest artists on the ULM campus each academic year, but this spring we’ll have more than the usual number, including several fantastic horn players. Our first guest artist this spring was Centria Brown, a DMA candidate at Louisiana State University, studying with Professor Seth Orgel.  Ms. Brown is a fellow native of North Carolina and earned her undergraduate degree at Wingate University. She gave a fantastic master class and recital, with a program including the Nelhybel Scherzo Concertante, Mozart 4, Krol Laudatio, and the Lars-Erik Larsson Concertino, op 45, no 5. This coming week we’ll be welcoming another guest, Timothy Thompson, Professor of Horn at the University of Arkansas. He’ll be performing a program of unaccompanied works entitled “Around the World with the Horn.” On February 8 we’ll host the Quintasonic Brass for our annual Brass Day workshop. In addition to a recital by Quintasonic Brass, the day’s events will also include a special horn pedagogy clinic and exhibits by Houghton Horns. To close out this impressive roster of horn artists, the Cobalt Quartet will perform a recital on March 12. Members include several prominent horn performers and teachers from across the country: Jena Gardner, Katie Johnson, Caroline Steiger, and Rose Valby. In addition to these horn players, euphonium virtuoso Demondrae Thurman will be in residence for two days, presenting a guest recital (Feb. 25), master classes, and more.
  • Chamber Recitals, Premieres, etc. Along with preparations for our brass trio recital on April 17, I’m also working towards two performances of brand new chamber works with horn. On April 2, I’ll join my colleagues in Trio Mélange for the Louisiana premiere of Dana Wilson‘s song cycle, Love me like a beautiful dream for soprano (or mezzo-soprano), horn, and piano. This substantial new work was commissioned by a consortium initiated by hornist Jeff Nelsen, and his wife, mezzo-soprano Nina Nelsen. The six movements include settings of texts ranging from the 6th century B.C.E. to the 20th century. It’s a hauntingly beautiful work, and is sure to get many more performances in the coming years. Shortly after that, my colleague Mel Mobley and I will travel to Commerce, TX to premiere Crystal Kaleidoscope, a new work for horn and vibraphone by Ken Davies. We commissioned this piece with some generous help from the International Horn Society’s Meir Rimon Commissioning Assistance Fund. I have a fairly light orchestral load this spring, which should balance out well with my other teaching and performing obligations.
  • Texas Music Educators Association Convention: TMEA is widely recognized as one of the biggest (and best) music education conferences in the world, and I’m fortunate to have the opportunity to attend for a few days in February. I won’t be performing or presenting, but I look forward to my first time at this event. More details in future posts!
  • Editorial and Review Activities: Carving out time to write blog posts has been a bit difficult for me these past several months, as (among other things) I’ve been engaged in some related activities – namely reviewing new books and compositions for the Horn Call, and, more recently, joining the IHS Online Music Sales editorial team. I have enjoyed my work on both projects, and I’m especially excited to be involved with the “Music of Douglas Hill” collection. Be on the lookout for several new additions to this section of the online catalog in the coming months. That being said, I am hopeful that I can return to at least a semi-regular blogging schedule this semester. With all of the varied happenings I shouldn’t have any trouble finding material to write about!

As always, best wishes for a great semester to my colleagues near and far.

New Brass Trio CD Released!

I’m happy to report that Scenes from the Bayou, our new brass trio album, is now available on the Mark Custom Recordings label. Anyone who was released a recording knows how much work is involved, and while I truly have enjoyed every bit of the process, I’m nonetheless relieved (and excited) to see the final product in physical form. If you’re interested in reading more about the recording and editing process, you can see my previous posts here and here. At this time the recording is available for purchase directly from me and also on the Mark Recordings store page, linked above. It will be available very soon on iTunes and Amazon. I will post updates as soon as the links are up.

Here’s a small quote from the liner notes which explains the scope and contents of this album. You can also read the Sales Sheet, a handy one-page document with more information about the recording.

The repertoire for brass trio is not extensive, especially when compared to more venerable chamber ensembles such as brass quintet or string quartet. With only three voices, the number of possible harmonies and timbres is limited, and there are few works written by major composers. Furthermore, there are only a handful of established professional ensembles. Yet, the number of student, amateur, and professional ensembles is growing, and there are jewels in the repertoire which help give the medium credibility. Since its inception, Black Bayou Brass has sought to promote brass trio music through performances, commissions, arrangements, and recordings. This album showcases several World Premiere recordings in various styles and time periods, from the 18th to 21st centuries. We feel it represents the best of what brass trio compositions have to offer, and we sincerely hope you enjoy listening to it!

And here’s a complete track listing, as found in the CD tray, along with a video containing score samples and brief clips of each work.

Allegro 
Menuetto                                                              
Adagio 
Menuetto
Rondo: Allegro assai
Preludio            
Allemanda 
Corrente 
Gavotta 
Hopak from Sorochinsky Fair by Modest Mussorgsky/arr. Aaron Witek 
The Wheel             
The Metronome 
The Periscope 
Morse Code
The Airplane     
Morning on the Bayou   
Chasing Prey                
Bayou Boardwalk              
Cypress Trees            
Fire in the Sky 
All are world premiere recordings, and with the exception of Flash by Jérôme Naulais, all the works on this album were either commissioned by us or created by members of the ensemble. If you haven’t heard any brass trio music before, or if you aren’t very familiar with the repertoire, make sure you check out Scenes from the Bayou!

Comparing Microphones for Recording Solo Horn

Here’s a video comparing three different ways to record a solo horn.

  1. MXL R144 Ribbon Microphone – placed approximately 6 feet in front of the horn.
  2. Samson C02 Condenser Microphones – stereo pair in XY configuration placed approximately 6 feet in front of the horn.
  3. Samson C02 Condenser Microphones – stereo pair in NOS configuration placed approximately 6 feet in front of the horn.

The above are three common microphone techniques. There are many more, but my limited skills and equipment prevented me from exploring others.

This little project came about for three main reasons:

  • While I am most certainly not a recording engineer, I teach an Introduction to Music Technology course, and have an interest in recording techniques. I enjoy learning about the equipment and principles, and used this video as a way to put some ideas into practice.
  • Back to back comparison of the two types of microphones I own – ribbon and condenser. I’ve used both in various situations, but had not compared them in this way. For more information on microphones, see here.
  • I also wanted to try out a new way of recording – using independent audio and video equipment, rather than the all-in-one approach I have used for years. Though it took a little more time to set up, I think the end product was pretty successful. Syncing up the audio and video was less tricky than I anticipated.

Before getting into more discussion of the results, here’s the video. Separate audio files are also embedded if you would prefer to listen to those. I chose an excerpt from Otto Ketting’s Intrada because I’m performing it in a few weeks, and also because it has lots of contrast in a short amount of time.

Ribbon:

Condenser Pair XY:

Condenser Pair NOS:

Even with the extremely low cost equipment I am using, hopefully you can hear a difference among the three techniques. To me, the XY configuration has the best overall sound, although there are elements of the ribbon that I like quite a bit. Ribbon microphones are very popular for recording brass instruments, because of the warmth they bring to the sound. Higher quality microphones should of course yield more perceptible results, although my cheap MXL ribbon is ok for my purposes. I hope to do some more videos like this in the future, with different techniques and ensembles. In case you are interested, here is the equipment I used (microphones are listed above). Assuming you have a decent laptop, all of the other gear is very reasonably priced.

  • Audio Interface/Preamps: Focusrite Scarlett 2i2
  • Computer: 13 inch, MacBook Pro, ca. 2012
  • DAW: Logic Pro X
  • Video Camera: Canon Vixia, ca. 2009
  • Video Editing: Final Cut Pro X

While there are some great all-in-one recording products out there, if you do lots of audio and video recording of your horn playing it might be worth exploring some of this equipment.

Recital Day Routine

You’ve spent weeks and months preparing for that solo recital, and everything is prepared to the best of your ability. Your dress rehearsal went well, and you feel confident about the big day…now what? The recital day routine, like many other aspects of musical performance, should be contemplated and worked out well in advance. Over the years, I’ve arrived at a plan that helps me feel relaxed and ready to perform. After experimenting with different things, I’ve found something that works for me.

In a perfect world, we would have the freedom to clear our schedules on the day of a big performance or audition, and spend our time in quiet reflection until the appointed time. The reality though is that work and school schedules will proceed as usual, regardless of our own personal performance calendars. Feel free to use any (or none) of the following as you work out your own pre-recital routine!

  • Day Before: Get a “normal” amount of sleep the night before, usually defined as 7 to 9 hours for adults. If my schedule allows, I might sleep in for 10-15 minutes extra, but no more. I generally practice as I normally would, perhaps running the program one final time or spot checking places as necessary. Dinner the night before isn’t restrictive, but I am careful not to overindulge on anything too spicy or salty.
  • Morning: Follow my normal warm-up routine, but with some modifications (see below). Continue with my usual  teaching and/or meeting schedule. I also make sure to drink lots of water throughout the day (which I normally do). Here’s my typical recital day warm-up routine.
    • Breathing/Relaxation exercises (5 minutes)
    • One or two slow studies from Nancy Sullivan’s Flow Studies for Horn, or other similar materials.
    • 15-20 minutes of my normal maintenance routine (currently Douglas Hill’s Warm-ups and Maintenance Sessions for the Horn Player), then STOP. No more practice for the day. I might play briefly in some lessons if necessary, but in general I avoid too much extra playing throughout the day.
  • Lunch/Afternoon: Lunch as normal, but again avoiding anything too spicy or salty. Keep drinking water! For a 7:30 p.m. recital, I try to leave school by 4:00 p.m. if my schedule permits so that I can relax at home for an hour or so before dinner. Once at home, I “unplug” from work emails, social media, and pretty much anything that might be stress inducing! As an aside, this is my normal practice even on a non-recital day, and I have found it very helpful in sustaining a career without getting burned out. I might read, spend time with family, or simply sit quietly and visualize the upcoming performance. Time doesn’t usually permit going through the entire program in my mind’s ear, but starting each piece or movement internally can be helpful. *If you can’t make it back home from the office or school before recital time, find a quiet place free from distractions and do the same thing. Perhaps a brief phone call to family or a close friend to help settle your mind.
  • Dinner/Evening:  Eat a light dinner or even just a substantial snack, making sure that I eat enough to have energy but not so much that I feel overly full. This might take some experimenting to figure out. A typical recital day dinner for me might be a sandwich or a small helping of whatever is on our dinner menu at home. My go to snacks are fruits, almonds, and peanut butter. Anything that provides energy and doesn’t dry you out is good. I avoid too much caffeine, maybe having a cup of green tea after the meal/snack. Brush my teeth, change into recital clothes, and head to the hall by 6:00 or 6:15 p.m. (I have about a 20 minute commute).
  • At the Hall: I like to get to the hall in plenty of time to do some more relaxation/breathing exercises, and go through the same flow studies with which I began the day. I might add in some light flexibility or longish tones to loosen back up if necessary. By this time it’s close to 7:00 p.m., at which point I put the horn down and read or just sit back and relax. I try to touch base with any collaborators and/or stage hands on the recital, just to make sure they have everything they need from me. The house at my university generally opens at 7:15 p.m., and everything I need for the first half is on stage by this time. A few minutes before going out, I play a few flexibility exercises in the middle register, empty all the water out of my horn, and take several deep, relaxed breaths. Go out and have fun!

All of the above is subject to modification, and I would love to hear from other performers about their pre-recital routines. It’s a fascinating subject, with plenty of room for further study.

Recording Reviews: Richard Deane; Steven Cohen

I seldom post recording reviews on this site, but every once in a while I either receive a complimentary album in the mail, or hear about a project that piques my interest. To close out a series of reviews from this summer, here are two horn recordings that are well worth your time.

Mid-Century Sonatas for Horn and PianoRichard Deane, horn; Timothy Whitehead, piano

  • Halsey Stevens, Sonata for Horn and Piano (1953)
  • Paul Hindemith, Sonata für Althorn in Es und Klavier (1943/1956)
  • Bernard Heiden, Sonata for Horn and Piano (1939)
  • Paul Hindemith, Sonata für Horn und Klavier (1939)
Front+CoverBIGGER

These sonatas for horn and piano by Halsey Stevens, Paul Hindemith, and Bernard Heiden are staples in the repertoire. Deane is Associate Principal Horn in the New York Philharmonic, and served as Acting Principal for the 2017-18 season. He was previously a member of the Atlanta Symphony for many years. Though the repertoire is conventional, the extremely high caliber of the performances makes this recording special. Deane plays with a huge but focused sound. To my ear the “New York sound” has changed over the years, partially due to changes in equipment, I’m sure, but also probably as a response to the ever increasing demands of the job. Whitehead’s piano playing is equally impressive – especially in the final movement of the Hindemith E-flat Sonata – and is a fitting musical counterpart to the horn in these works.  There is not much in the way of liner notes, but there is a very nice video on YouTube with background about the project: https://www.youtube.com/watch?v=mP-kJf8xiJM  One other interesting note about this album is that Whitehead not only performed on piano, but did all of the recording, producing, editing, and mixing – not a small feat! The recording is both vibrant and clear, and for those who might be interested the recording equipment is listed in the liner notes.

Cruise Control: Horn Music from Five Emerging American Composers – Steven Cohen, horn; Jed Moss, piano; Scott Shinbara, percussion; Amanda Sealock, percussion

  • James Naigus, Sonata for Horn and Piano
  • Jenni Brandon, Dawn for Horn in F and Piano
  • Adam Wolf, Cruise Control for Horn, Piano and Percussion
  • Wayne Lu, Pranayama
  • Gina Gillie, Sonata for Horn and Piano
IMG_5653

Cruise Control is a contrasting but equally interesting album by New York City freelancer Steven Cohen, and features world premiere recordings by several up and coming American composers. This project was sponsored by Siegfried’s Call, with a significant portion of the funding generated through an Indiegogo campaign. Be sure to check out the Indiegogo link for more information about the project and the commissioning process.

The music on this disc is fun and fresh, and showcases what I think the horn does best: play beautiful melodies and exhibit a variety of timbres. Cohen navigates the full range of the horn with ease and expression (using similar equipment to Richard Deane, a triple horn by Engelbert Schmid). Stylistically there is a bit of everything on this recording, from Neo-romanticism in the Sonatas by James Naigus and Gina Gillie to Minimalism and Rock in Cruise Control by Adam Wolf, and avant garde extended techniques in the works by Jenni Brandon and Wayne Lu. This recording is a musical and technical tour de force, and serves as a great resource for anyone interested in new music for the horn.

Trios for Horn, Trombone, and Tuba

k32067000000000-00-500x500A colleague from another university contacted me recently to ask for some recommendations about low brass trios (horn, trombone, tuba). Having just performed a program featuring music for this ensemble at the International Trombone Festival and the International Horn Symposium, I was interested to see what other repertoire might be out there. Based on a cursory search of my favorite online music retailers (and a few other places), here’s what turned up. It’s a more limited selection than the high brass trio, but more than I thought would be readily available. *This list only includes original works, not arrangements or transcriptions. I haven’t performed very many of these, although several of them look promising based on what I know of the composers’ other works. As I mentioned in my presentation at IHS 50, low and high brass trios are ripe for scholarship and creative activity in the form of recordings, commissions, arrangements, etc. If you have an interest in brass chamber music beyond the standard quintet, give the brass trio a serious look.

Etude Reviews: Rhythm Kopprasch and Harmony Kopprasch, by Jeffrey Agrell

Earlier this summer I received complimentary copies of Rhythm Kopprasch and Harmony Koppraschtwo volumes in the Millenium Kopprasch series by Jeffrey Agrell, Professor of Horn at the University of Iowa. I’m a big fan of Professor Agrell’s work, and have reviewed several of his other publications, including Improvisation Games for Classical Musicians, Horn Technique, and The Creative Hornist.

The Millenium Kopprasch  series contains creative reinventions of classic Kopprasch Op. 6 etudes, made more applicable to the 21st-century hornist. The range and basic patterns of the original etudes are still there, but in modified forms. Rhythm Kopprasch incorporates mixed meters, unusual accent patterns, syncopation, and ties, while Harmony Kopprasch explores modes, awkward intervals, Blues scales, and more. Dynamics and tempo markings are intentionally left up to the player, although the markings in the original etudes would be a good place to start. Traditionally the Op. 6 etudes are used as a school of transposition, and to reinforce basic concepts of technique and sound production. More advanced etudes are necessary to develop technique further – Reynolds, Schuller, etc. Because the Millenium Kopprasch series breathes new life into the venerable Op. 6 studies, it opens up many possibilities for teachers and students. These are tough, and will push you beyond what is required for the original studies. But, they are also really fun to play. The patterns are much less familiar than the diatonic scales and arpeggios of the originals, and take far more concentration.

Here are some brief examples which demonstrate the kind of transformations you’ll find in these new Kopprasch studies. First is the original Kopprasch No. 3, Poco Allegro. *This is a pretty old recording from my Kopprasch video project, and the score is from the Hofmeister edition on IMSLP.

Next is the first half of the corresponding Etude No. 3 from Rhythm Kopprasch, shared here by permission of the author. The basics are still there, with the added fun of mixed meters and accent patterns.

And now the same thing from Harmony Kopprasch, which includes a variety of scales and arpeggios beyond diatonic major and minor (notice the helpful annotations for the source material) .

The quality engraving and attractive covers make for a very nice package, although a spiral binding would make the books a little easier to put on a music stand. As with all of Agrell’s publications, Rhythm Kopprasch and Harmony Kopprasch represent significant contributions to the existing horn literature. And, much like the original studies on which they are based, this series will continue to challenge (and possibly frustrate – but in a good way) hornists for years to come.

IHS 50 Report, Final Thoughts

This is the fourth and final part of a series on the 50th International Horn Symposium (You can read Part 1, Part 2, and Part 3 here). Although IHS 50 will last through tomorrow (Saturday), I am now at home and reflecting on this year’s symposium. 50 years of horn symposia is a big deal, and I’m sure there were many discussions about how to appropriately commemorate the event. I think IHS 50 was a rousing success, with credit and gratitude going first to Gene Berger and the Ball State University faculty and staff, but also to the IHS Advisory Council, and all the members of the International Horn Society for their part in making this event a reality. As is my usual practice, here are some summary thoughts about the symposium.

  • Looking backwards, looking forwards: Every conference has a particular vibe, created in large part by the host organization and venue, as well as the various lectures, performances, and numerous other less tangible details. For example, IHS 47 in Los Angeles had a very cosmopolitan feel, which fit very well with the city’s role as a cultural, artistic, and economic hub. IHS 48 in Ithaca was very different, given the beautiful natural surroundings of the Finger Lakes region in  New York. IHS 50 was somewhere in between, I feel, but with the added ceremony and nostalgia befitting a Golden Anniversary. Several events looked backwards over the past 50 years, while others looked forward to the future. I thought it was a good mix, and offered something of interest for just about everyone.
  • Exhibits and Gear: Though horns, mouthpieces, and accessories were not a focus for me during this particular IHS (I was on a pretty tight schedule), I did browse past most of the vendor tables. Horn makers and retailers both large and small were in high attendance, and the exhibits were all located in a single building, although signage could have been a bit better in pointing out where specific vendors were located. Sheet music tables were nicely insulated from the instrument exhibits, and private instrument testing rooms were reserved in a more quiet part of the building. Lots of new products were on display, including carbon fiber bell inserts for Marcus Bonna soft top cases, a new carbon fiber case from Pope Repair, and the new case by BAM, a longtime maker of cases for string instruments. All of these products are worth a serious look if you are in the market for a new case. Houghton Horns had their complete line of H series mouthpieces, including the new H-4, and Osmun Music unveiled their commemorative IHS 50 mouthpiece.
  • Social Time: Complimentary coffee and tea were a very nice touch at this symposium, and the Ball State Student Center provided plenty of comfortable spaces for meeting new people and catching up with colleagues. It’s always interesting to meet people with whom you’ve communicated electronically, and to put a real face and personality with their name.
  • Participant Ensembles: I didn’t participate in any of the late night horn ensemble reading sessions, but from the talk around the symposium they were very popular. Though not a huge area of interest for me at horn conferences – I’m usually trying to conserve chops and energy for other performances – I recognize how fun and engaging they can be for players of all levels. Perhaps more opportunities will be available at future symposia. Unlike some organizations, many IHS members are not professionals or students, but nonetheless have an abiding love and interest in all things horn-related. Finding the right balance among activities and services which benefit various members of the IHS is an ongoing process, and one which bears some frank discussion.
  • Future of the IHS: I was unable to attend an area representative meeting on Thursday morning, but from what I gather the agenda was largely concerned with ongoing efforts to increase membership in the IHS (see my article on why YOU should join the IHS here). I have seen a few posts on social media inquiring about what benefits IHS members enjoy the most, and why non-members have not joined. I sincerely hope that these conversations continue, and yield some productive results. In the end the Horn Society won’t be able to please everyone, but I hope that some changes can be made to ensure that the IHS flourishes for another 50 years. One issue that I believe is common to all the like-instrument societies (International Trombone Association, International Trumpet Guild, etc.) is identity. Is the IHS a professional organization? Is it for amateurs? Is it for students? Is it for teachers? The answers to all of the above questions is a resounding YES, but therein lies the problem. Catering to the interests of all these parties is a monumental task, and there is no magic bullet to increasing membership. Perhaps better marketing and a greater social media presence will help, but this takes dedicated time and effort, and may in fact drive away other members of the society. I’ve always wondered why more professional horn players aren’t members of the IHS, and if there is a way to bridge the gap and encourage them to join. Overall, though, I have confidence in our leadership and trust them to help find a path that promotes the Goals and Aims of the IHS.

IHS 50 Report, Part 3

*This is the third part of a series on the 50th International Horn Symposium. Follow these links to read Part 1 and Part 2.

By the time you read this post, I will be returning home from the 50th International Horn Symposium in Muncie, Indiana. For a variety of reasons, I chose not to stay for the entire symposium this year, but have thoroughly enjoyed my time here. Bravo and a huge THANK YOU to Professor Gene Berger and the students and staff at Ball State University for making this week possible. From my perspective, all of the many events and other activities have been well organized and have run smoothly – not an easy feat! As I write this, I am listening via Facebook live to an exciting performance by Leelanee Sterrett and Tomoko Kanamaru on the Wednesday evening concert. Not to sound like too much of an old fogey here, but I knew Ms. Sterrett when she was a freshman at the University of Wisconsin-Madison, while I was working on a doctorate there. At the time she was already a tremendous horn player, and has since gone on to perform at the highest levels. Here is the program:

Kate Soper, Into that World Inverted
(b. 1981)
Jane Vignery, Sonata for Horn and Piano, Op. 7
(1913-1974)
Ruth Gipps, Sonatina for Horn and Piano, Op. 56
(1921-1999)
Leelanee Sterrett, horn Tomoko Kanamaru, piano

After intermission, the second half will feature an All-Star Horn Big Band, but since I will be departing quite early in the morning I will be turning in for the night.

Working backwards from the final concert of the day, our 4:00 p.m. brass trio performance went very well, and as always it was a pleasure to make music with my colleagues. In my experience, audiences respond well to brass trio music. There is a surprising amount of variety in the repertoire, with some really fine original works by established and emerging composers. If you are looking for something different to program on an upcoming recital, consider putting together a trio of your own.

Earlier in the day I attended one of the IHS 50 special sessions, this one on “Horn-Making over the past 50 Years.” The speakers included Richard Bentson, presider, and Panelists Robert Osmun, Englebert Schmid, Chuck Ward, Philipp Alexander, Johnny Woody, and Dan Rauch. The panel encompassed a wide range of experiences and perspectives, including highly-skilled repairmen, custom makers, consultants, and everything in between. It was a fascinating lecture, with each panelist presenting a brief overview of their thoughts on the last 50 years of horn making. There were of course some differing opinions, but a few of the commonalities are listed below:

  • For custom (boutique) horn makers, the materials and methods of building horns have evolved significantly over the last half-century, with the trend being towards greater precision and customization to the individual player. Examples of this include greater variety of alloys (brass, red brass, nickel silver, etc.), and the use of plastics and other composites such as carbon fiber. However, as the horn playing community as a whole tends to be quite traditional, the standard double horn in F and B-flat has remained the most popular choice for a majority of players. *Several panelists did note the increasing presence (and availability) of triple and descant horns, though.
  • For large scale factory-made horns, quality has often suffered when the parent company has tried to cut costs without consideration of the effects on their instruments. One panelist even mentioned a meeting in which the idea of using glue to hold horns together was offered as a possible way to cut costs (thankfully the idea was later abandoned). One panelist also pointed out that while factory-made horns such as the Conn 8D were once the instruments of choice for professionals, those days have largely come and gone. Most professionals now have their pick of several brands of high end custom made instruments, while factory horns largely cater to the student market.

I left this session a bit early to make it to a 1:00 p.m. presentation by Dr. Stacie Mickens, “Positive Practice Strategies.” I have seen Dr. Mickens give this presentation a few times before, and it keeps getting better and better. Drawing on two books, The Perfect Wrong Note by William Westney, and Practicing for Artistic Success by Burton Kaplan, she offered some wonderful tips on how to structure practice sessions so that we actually make progress rather than feeling frustrated. If you get the chance to hear her give this presentation or to take a lesson with her I highly recommend it!

As usual, I’ll be sharing some summary thoughts about the symposium, but it will take me a few days to process everything and put together something coherent. Check back soon to read more…

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