Eldon Matlick Masterclass and Recital

Dr. Eldon Matlick with Lee Dunford and Neill Roshto, members of the ULM Horn Studio.

The ULM Horn Studio recently hosted Dr. Eldon Matlick – Professor of Horn at the University of Oklahoma – for a masterclass, recital, and several group lessons. It was a treat getting to observe Professor Matlick’s teaching, and to gain some insight into his pedagogy, which I wasn’t familiar with prior to this visit. It’s always interesting and beneficial for my students (and me) to hear familiar concepts explained in fresh ways. Here are a few ideas that stuck out to me from his masterclass and group lessons with our students:

  • Articulation: “The tongue slices through, but doesn’t stop, a never-ending column of air.”
  • Warming up: use air attacks, begin with mouthpiece buzzing, followed by leadpipe buzzing, then move to the horn.
  • Right Hand Position: Put the right hand straight down the middle of the bell, as described in this video by Engelbert Schmid – https://www.youtube.com/watch?v=k6eDD_nz3xo
  • Accuracy – problems often result when the horn is not correctly tuned. The ear and lips are trying to produce a different pitch than the horn is set up to play. This can be corrected by properly tuning the instrument. *See below.
  • Playing the horn should be easy – this is a principle that was clearly evident in Dr. Matlick’s recital performance, which was wonderful. He never once sounded fatigued, despite playing a program with several big works including the Appel Interstellaire by Messiaen and the Sonata for Horn and Piano, Op. 178 by Joseph Joseph Rheinberger . His playing was heroic and very musical, with a vibrant, singing tone.

Speaking of his program, of special interest is the instrument he used for the Rheinberger, a Vienna horn built by Andreas Jungwirth. I believe this was the first time I’ve heard a Vienna Horn performed live, and it was done masterfully. Kudos also to ULM collaborative pianist Justin Havard for his solid work on the difficult piano part. To my ear, the tone of the Vienna horn is smaller and more focused than the standard double horn, warm and liquid at medium to soft dynamics, with a thrilling (but not unpleasant) edge when played loudly. Dr. Matlick also very generously allowed my students to play on his Jungwirth as well as another Vienna horn made by Yamaha during his masterclass. Though the Vienna horn is primarily used as an orchestral instrument in Austria, there are several groups around the world that promote and advocate for this unique instrument. The Scottish Vienna Horns is but one of many examples. With Dr. Matlick leading the charge, perhaps the Vienna horn is poised to become a more popular and viable option for American horn players. Time will tell!

In closing, be sure you check out Dr. Matlick’s videos on YouTube with the University of Oklahoma Horn Ensemble, as well as his two solo recordings on the Mark Records label: Bavarian Horn and The French Connection. All are excellent examples of great horn playing!

Bonus: Here is the procedure Dr. Matlick suggested for tuning the double horn. Fingerings in [] assume a standard double horn, standing in the key of F.

  1. Play third-space C  [T0] (adjust main tuning slide)
  2. Play third-space C [0] (adjust F tuning slide)
  3. Play third-space C [1] (adjust first valve slide on the F side)
  4. Play third-line B-flat [1], then match [T1] (adjust first valve slide on the B-flat side)
  5. Play fourth-line D [0], then match with  [T12] (adjust second valve slide on the B-flat side)
  6. Play third-line B-natural [T2], then match with [2] (adjust second valve slide on the F side)
  7. Play second space A [12], tune, then match with [T12]
  8. Play second space A [T3], tune slightly low (adjust third valve on B-flat side), then match with [3] (adjust third valve slide on F side)

I think these are all the correct steps, but any errors are certainly mine and not Dr. Matlick’s. While this procedure is slightly different than the way I do things, it will certainly work, and is both systematic and thorough. If you haven’t tuned your horn this way before, give it a try!

 

Thoughts on Performing Three Recitals in One Week

My recent recital tour went very well, with enthusiastic and engaged audiences at all three venues. Sincere thanks again to my hosts at the University of Arkansas (Dr. Timothy Thompson) and Mississippi State University (Dr. Matthew Haislip). Although the change in my normal routine combined with lots of driving was a bit tiring, the tour was a great experience, and something that I would happily do again. On the horn playing side, performing the same program three times in one week was not as grueling as it might seem, and my preparation was more or less the same as for any other solo performance. However, I made sure to build in a rest day in between each of the performances. On those days I warmed up for about half an hour, but otherwise did very little playing. I would also add that this recital was a bit shorter than what I might program for a one-off performance, just to provide a little extra cushion in case of fatigue. Things sounded and felt pretty good on all three nights, although I definitely noticed a cumulative effect by the final recital. Nevertheless, I thoroughly enjoyed the opportunity to dig deep into each work and take some chances that I might not normally take if I were only performing them once.

If you would like to listen to one of our performances, here are videos from our recital at the University of Arkansas in Fayetteville, AR. Enjoy!

Nocturno, Op. 73 by Bernhard Eduard Müller

Sonata for Horn and Piano, by Gina Gillie

Romanza for Horn and Piano by Jan Koetsier

Reflections for Horn and Piano, by Paul Basler

Upcoming Recital Program

Lots of exciting things happening this fall as we begin a new semester and academic year. Instead of my usual “Semester Preview,” this time I’ll post separately about individual events as they happen. First up is my annual faculty recital on Monday, September 9, followed by a mini recital tour with performances and master classes at the University of Arkansas (Dr. Timothy Thompson) and Mississippi State University (Dr. Matthew Haislip).  I’ll be joined by a great collaborative pianist, Justin Havard, for a fun and engaging program. It includes a bit of old, but mostly new, music for horn and piano. If you are in the vicinity of any of these performances we would love to see you there!

Here are my program notes.

As a musician, I look to recordings and live performances for inspiration. My first experiences with all of the works on this program were through recordings and/or performances by great artists. It is also worth noting that with the exception of Jan Koetsier’s Romanza, these pieces were all composed by horn players.

Nocturno, Op. 73, Bernhard Eduard Müller (1842-after 1920)

Bernhard Eduard Müller served as second horn in the Gewandhaus Orchestra of Leipzig from 1876-1920, and is most well-known today for his two-volume Studies for Horn, Op. 64. Biographical information is scant, though several of his compositions for horn and piano survive. The best of these were recorded by John Ericson of Arizona State University on his album Rescued! (Summit Records). The Nocturno, Op. 73 is a compact but well-crafted piece in a thoroughly Romantic style. The range and technical difficulties are modest, making it accessible to younger players.

Sonata for Horn and Piano, Gina Gillie (b. 1981)

Gina Gillie is an Associate Professor of Music at Pacific Lutheran University, where she teaches applied horn, aural skills, and composition. She performs with two faculty ensembles at PLU, the Camas Wind Quintet and the Lyric Brass Quintet, and is active as an orchestral and freelance performer in the Pacific Northwest. In addition to her distinguished teaching and performing career, she is an accomplished composer, and has received numerous commissions for solo and chamber works. Her music is published by RM Williams, Brass Arts Unlimited, and Veritas Musica. The Sonata for Horn and Piano was commissioned in 2017 by Steven Cohen, and is featured along with several other new works on his album Cruise Control: Horn Music from Five Emerging American Composers (Siegfried’s Call). Gillie balances tradition and innovation throughout this significant three-movement sonata, simultaneously paying respect to the great horn works of the 19th and 20th centuries, while displaying her own unique voice. The first movement, with its contrasting themes and sonata-form construction, masterfully assimilates the German Romantic style. An ascending sixth motive figures prominently, and is transformed in various ways in the following movements. Gounod provides the inspiration for the second movement, a Mélodie in the French style. Gillie is especially gifted at writing beautiful melodies, and crafts long-breathed phrases worthy of the French master. The ascending sixth motive from the first movement is transformed again for the rollicking finale, a Rondo in Afro-Cuban style. This challenging but idiomatic work is great fun!

Romanza, Op. 59/2, Jan Koetsier (1911-2006)

Though relatively little known in the United States – except among brass players – Dutch-born composer, conductor, and professor Jan Koetsier is well-regarded throughout Europe, and especially in Munich, Germany, where he served as professor of conducting at the Hochschule für Musik for many years. As a composer he devoted much of his efforts to brass and wind instruments, and seemed especially interested in developing the repertoire for unusual or under-utilized combinations of instruments. As the title suggests, the Romanza, Op. 59, No. 2 (1972) showcases the lyrical qualities of the horn. In this brief yet effective work, a contrasting scherzo-like central section is framed by a beautiful melody in the outer sections. The Romanza has been recorded numerous times, and an especially beautiful interpretation can be found on the album Deep Remembering by Gail Williams (Summit Records).

Reflections for Horn and Piano, Paul Basler (b. 1963)

Paul Basler, Professor of Music at the University of Florida, is one of the most well-known contemporary composers for the horn. His works have been recorded and performed around the world to critical acclaim. Reflections for Horn and Piano was composed in 2006, and is dedicated to Manuel de Jesús Germán. In the composer’s words, Reflections is “an intensely emotional (and personal) composition and can be considered the ‘sequel’ to Basler’s Canciones for horn and piano and Lacrymosa for two horns and piano.” The five movements each have descriptive titles indicative of style and emotional content, which span a wide range. Basler explores the full range of human emotion, including joy, sorrow, anger, and, ultimately, acceptance. It is one of Basler’s most popular works, and was recently recorded by Patrick Smith for the album Reflections: Horn Music of Paul Basler (Siegfried’s Call). Another particularly inspiring performance of this work was given by Gina Gillie and Richard Seiler in October, 2015 at the University of Louisiana Monroe.

Performance Video: Neuling Bagatelle

The Bagatelle for Low Horn and Piano by Hermann Neuling (1897 – 1967) has long been on my bucket list of solo works, and luckily I’ve had the opportunity to perform it a couple of times in the last few months. Most recently, I performed it for a “Horn Fest” concert organized by my colleague and friend Thomas Hundemer, Principal Horn of the Shreveport Symphony. If you’d like to listen to that performance, the YouTube video can be found at the end of this post. *The video quality is grainy because I stationed the camera at the back of a large church sanctuary and zoomed in.

If you aren’t familiar with Hermann Neuling or his works, check out this great thumbnail sketch by Dr. Jason Michael Johnston of the University of Idaho. It’s also worth noting that three of Neuling’s etude books, including the famous 30 Special Studies for Low Horn, are now available as PDF downloads through qPress. If you’ve listened to or played the Bagatelle, you know that it presents some challenges in both technique and flexibility. It is fun to play, and makes a great addition to a recital program. One interesting point is the horn’s pitch on the dotted eighth-note in the fourth beat of measure 23 (10 measures after rehearsal 1). See below for an image from the score,  © 1956, Pro musica Verlag Leipzig.

© 1956, Pro musica Verlag Leipzig

If you look closely, there is a pitch discrepancy between the horn’s written E natural (concert A) and the piano’s A-flat, both on the fourth beat of measure 23. The E natural in the horn sounds ok by itself, but will definitely clash with the piano’s A-flat! Harmonically, the horn’s note needs to be an E-flat, and is performed as such in the recordings I’ve heard.

If you’ve not taken a look at the Bagatelle, consider programming it in the future as it is a challenging and rewarding work!

Goings-on Going on this Summer…

51p4EQDkYPL._SX384_BO1,204,203,200_This will be an interesting summer for me, as I won’t be attending any major conferences. Instead, I have been and will be spending my time engaged in various projects here in town, as well as visiting relatives and friends in North Carolina.

New Music on the Bayou held its fourth annual summer festival last week, and as always it was a fantastic celebration of contemporary composers and their works. Mel Mobley and I performed the world premiere of Ken Davies  Crystal Kaleidoscope for horn and marimba, and Black Bayou Brass performed Finding Resolution, a brass trio by Brandon Dicks. *NB: Because of severe weather, we were not able to perform the premiere of Davies’ piece back in April. However, our performance at New Music on the Bayou went very well.

During the month of June I am teaching a course for our new summer Master of Music Education degree. We are very excited to be offering an MME program, and enrollment for this first session has exceeded our expectations. My course is Applications of Music Technology, and is designed to introduce music educators to a variety of technologies they can incorporate into their classrooms and rehearsal halls. Having taught an undergraduate introduction to music technology course for the past several years, I had a good foundation to begin developing the course. However, I obviously wanted to make it different from the undergraduate level class, as well as tailor it to meet the needs of current educators. After some searching, I decided to use a book by Scott Watson, Using Technology to Unlock Musical Creativity. Although it was published in 2011, much of the material on technology is still relevant, but even more valuable is the pedagogical and philosophical approach. I highly recommend it!

This summer I’ll also be working with the IHS Online Music Sales editorial team (Gina Gillie, Dan Phillips, Daren Robbins, and Jeffrey Snedeker) to prepare and make available in digital format numerous works by Douglas HillThe Music of Douglas Hill Collection on the IHS site already has several of Hill’s compositions and method books, and we plan to add more very soon. Perhaps the most significant of these is a digital version of  Extended Techniques for the Horn, complete with the original audio examples composed and performed by the author. For more information on this project (and much more), check out this interview with Doug in the June 2019 IHS E-Newsletter.

After June I’ll be teaching an online music appreciation course, and preparing for a recital tour this September to several universities. I’ll post more on this as the fall gets closer, but the program is going to be a mix of both old and new, including works by Gina Gillie, Paul Basler, Hermann Neuling, Jan Koetsier, and B. Ed. Müller.

 

Upcoming Performance: Crystal Kaleidoscope for Horn and Vibraphone by Ken Davies

IMG_20190320_141315964In addition to the Dana Wilson song cycle performance mentioned in my earlier post, I’ll be performing another brand new work in April at the Society of Composers, Inc. Region VI Conference at Texas A&M University—Commerce. The composition is by Ken Davies, and is entitled Crystal Kaleidoscope for horn and vibraphone. My colleague Mel Mobley and I commissioned it with assistance from the International Horn Society’s Meir Rimon Commissioning Assistance Fund. This is a fantastic initiative by the IHS, and well worth applying for and supporting! As of this writing, the fund is on hiatus from January 2019 through December 2019. Be on the lookout, however, for future funding opportunities.

Getting back to Crystal Kaleidoscope, Ken Davies is a very fine composer, and the works I’ve performed by him have been interesting and rewarding to play. The horn and vibraphone combination is pretty unique, and there are only a handful of other works in the repertoire for horn and mallet percussion, let alone this specific instrumentation. The first one that comes to mind is HornVibes: Three Duos for Horn and Vibraphone, by Verne Reynolds. For more information on this and other works for horn and mallet percussion, refer to Dr. Casey N. Maltese’s A Performance Guide of Selected Works for Horn and Mallet Percussion, D.M.A dissertation, the University of Miami, 2011. In my estimation, Crystal Kaleidoscope holds up very well when compared to the Reynolds, though it is quite different. Here is the composer’s note:

Look into the kaleidoscope. See the variously shaped colored crystals, their reflections producing continuous changing patterns. Each crystal has a unique structure, shape, and color—its own symmetrical, ordered, three-dimensional aggregation of atoms or molecules.

As the title suggests, this work is based on “crystals.” Though the sectional sub-titles may be whimsically named for gemstones, the musical crystals are pitch sets consisting of a few notes which are spun out into transformed patterns of melodic and harmonic variety. While the theorist/musicologist may want to delve into set analysis, I hope that others may simply enjoy the aural ride along the surface, letting the notes, chords, and timbres provide a worthy repeatable listening experience.

The writing is fun and challenging, but not unreasonably so, with lots of rhythmic and melodic interplay between horn and vibraphone. As the composer implies in his preface, there are some complex compositional operations at work, but the melodies and timbres are interesting enough in and of themselves without deep analysis. As I’ve found in other works by him, Ken likes to throw in periodic references to other styles such as funk and jazz. For instance, this short line for the horn in the final movement, “Crystal Collage,” has a pretty fun groove to it. Tempo is quarter note=92-104 or faster.

Davies Excerpt

If this post has piqued your interest in the music of Ken Davies, take a look at his website for a complete list of his many works. Here is a short list of works with horn, taken from his website.

  • Brain Fantasies for horn and two-channel audio
  • Sensuous Images for horn and pre-recorded soundscape
  • Waterscape for horn and digital media
  • Loose Connections – horn alone
  • Three Roads Diverged – brass trio – tpt, hrn, tbn
  • Concert Piece for Brass Quintet and Organ
  • Bayou Sketches – soprano, French horn, piano
  • Veiled Places for Woodwind Quintet

Upcoming Performance: Dana Wilson Commission

Dana Wilson, Charles A. Dana Professor Emeritus at the Ithaca College School of Music. Image obtained from https://www.danawilson.org/bio

On April 2 I’ll be joining my colleagues in Trio Mélange for a performance of a new work for voice, horn, and piano by Dana Wilson. Wilson is a widely recognized composer in multiple genres, and is Charles A. Dana Professor Emeritus at the Ithaca College School of Music. The piece, Love me like a beautiful dream, is a six-movement song cycle commissioned in 2018 by a national consortium of horn players and their colleagues. The commission was initiated by Jeff Nelsen and his wife, mezzo-soprano Nina Yoshida Nelsen. Here’s a complete list of the participants in the consortium:

  • Jeff Nelsen, consortium initiator, and mezzo-soprano Nina Nelsen, Indiana University
  • Gene P. Berger, Ball State University
  • James Boldin and Trio Mélange, University of Louisiana Monroe
  • Aaron Brant and soprano Andrea Wells, University of Dayton
  • David Cooper, Dallas Symphony
  • Marlene Ford, Old Dominion University
  • Steven Gross, University of California at Santa Barbara
  • Nancy Joy, New Mexico State University
  • Jason Johnston, University of Idaho
  • Brian Kilp, Indiana State University
  • Peter Kurau, Eastman School of Music
  • Seth Orgel, Louisiana State University and Atlantic Brass Quintet
  • Jennifer Presar, Southern Illinois University
  • Alex Shuhan, Ithaca College
  • Bernhard Scully, University of Illinois at Urbana-Champaign
  • Jeffrey Snedeker, Central Washington University
  • Michael Walker, University of New Mexico
  • Gail Williams, Northwestern University

I’ve mentioned commissioning consortia before, as they are a great (and inexpensive) way to support the creation of new music. It’s exciting and rewarding to take part in the  process, and we are really looking forward to our performance. I have not yet confirmed it, but ours may be the first performance in Louisiana. On to some more information about the piece. In the composer’s words, here is a description of Love me like a beautiful dream :

A wondrous (and frightening) aspect of being human is that, despite the apparent differences among cultures over time and in various parts of the world, our basic emotional needs and desires have remained the same. Although the texts that make up this work span the past 2,500 years and are from as far away as Persia, Japan, and Madagascar, they could have been written by our close friends, so “contemporary” are their views and concerns about love. This set, then, explores the many aspects of this basic emotion that gives life its difficult pleasures, and what better instruments to express them than female voice, horn and piano.

As Wilson mentions, the six movements are all connected by the theme of love, though the subtleties and complexities of this emotion give rise to contrasting musical ideas. The writing for horn is quite nice, idiomatic but certainly not simplistic. The melodies in each movement are distinct, but unified by an often melancholy character. The work begins and ends with a beautiful unaccompanied horn solo. Here’s a brief excerpt from the first movement, “The sweet murmur of your voice,”   © 2018 by Dana Wilson, on a text by Sappho (translated by Mary Barnard) c. 6th Cent. BCE Greece:

Another interesting movement is the third, “When the dawn comes,” on an Anonymous text from 9th Century Japan, translated by Arthur Waley. The horn part specifies a straight mute, to be played with a “very quiet, hollow sound” and “mournful (like a Japanese flute).” I presume this indication refers to the Shakuhachi, a Japanese bamboo flute. Here’s the sound I am imagining:

It’s hauntingly beautiful, and I’ve been experimenting with different types of air, aperture shape, and mute placement to achieve something similar in character. A recording of the piece isn’t available yet, but hopefully one will be in the near future so that it can get some wider exposure. For the time being, keep an eye out for performances by the consortia participants. If you would like a score and parts, they can be obtained directly from the composer at this link, which also lists all of Wilson’s works with horn: https://www.danawilson.org/featured_instruments?instrument=Horn

In addition to the Wilson, I’ll also be performing another brand new work during the month of April. More information soon!

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!

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.
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