Although in my last post I mentioned that it might be the final one of 2014, I’ve recently acquired some great new recordings that I felt should be reviewed before the year’s end.

This week’s review begins with a short story. One of the first horn recordings I purchased was David Krehbiel’s Orchestral Excerpts for Horn, which I picked up in a Tower Records store in Charlotte, NC during my freshman year in high school. At the time I knew very little about orchestral music, let alone the important excerpts for horn, but something about the CD attracted me to it. Had it been a tape or LP I would probably have worn it out long ago, but thankfully the CD is still in great shape after countless playings over the last 20 years. In retrospect, I think this recording is what really made me fall in love with the sound of the horn, and it introduced me to some of the great orchestral parts for the instrument. My only regret was that Summit Records never pursued a sequel, though the important horn passages in orchestral music could surely fill up multiple discs. And while an entire album of unaccompanied horn playing might seem boring, or at the very least, esoteric to a general audience, I thought it was fantastic.

This brings me to the subject of today’s review, which is, as far as I’m concerned, a perfect sequel to the original horn excerpts CD. I’m a big fan of Eli Epstein, a former member of the Cleveland Orchestra, and a renowned horn pedagogue. I’ve reviewed his book, Horn Playing from the Inside Out, and his YouTube video on the finger breath, both of which address numerous pedagogical issues. What I like most about Epstein’s approach to the horn is the balance between technical and musical considerations. He not only explains how things should sound, but lays out a step-by-step process to help you achieve that sound. In Orchestral Excerpts for Low Horn, Epstein discusses and performs 21 low horn excerpts from the standard repertoire, providing a wonderful resource for teachers and students tackling these challenging passages. The accompanying website (www.epsteinhornexcerpts.com/), which includes pictures, diagrams, and links to recordings, is a great companion to his other pedagogical materials.

Of course, the real star is the recording itself. Though there are numerous valid approaches to these excerpts, you would be hard pressed to find more nuanced, musically substantial performances anywhere. Every note has a purpose, and every musical decision has a concrete, logical reason behind it, which is explained in the commentary preceding each excerpt. Mr. Epstein plays with a warm, fluid sound, with the just the right amount of brassiness when the music calls for it. Rhythm and intonation are impeccable, and these recordings would be great to play along with when preparing either the excerpts themselves or the corresponding first and/or third horn parts. Epstein’s enthusiasm and love for this repertoire come through clearly in his commentary and performances, and I highly recommend this recording to anyone who plays the horn. Whether you are studying these passages for the first time or are reviewing (or teaching) them for the umpteenth time, I am certain that you will be encouraged and inspired.