Tethered to Reality

I've just dusted off my computer. I have not been writing or reading very much over the last few years. I had nearly lost my passion for life in general and altogether, which is frightening and embarrassing to admit. It's certainly unprofessional, unsafe and potentially harmful to discuss one's fragile personal state of mind. I know I am fairly safe doing so here, not many people have ever commented or even visited my blog. Anyway, getting my computer up and running took some time. It's almost time to wake Mama. I'll write more again soon.  

I wrote this while listening to the soundtrack by Hans Zimmer, for the movie Interstellar. 

Marie-Luise Neunecker on Sarah´s Horn Hangouts

I am a big fan of what Sarah Willis is doing.  Her somewhat cozy interviews with top notch horn players around the world gives us a close personal glimpse into their fast paced world!  I'll get whatever little clues they drop as I can!

Memorization is N0T for everyone, yet we ALL must do it!

I'll have to say, it is a beautiful thing when someone walks out onto stage, playing freely; connecting with the audience having no barriers between them.  Letting the music flow so directly is unquestionably the most desirable way to perform but it is not for everyone. I have a serious issue with memorization being required for jury exams or recital performances.  My objection extends to memorization of scales or exercises as well.
 
Speaking from my own experience with ADD, having the sheetmusic in front of me is a tremendous help in keeping my attention.  Distractions are constant for me.  Some may have heard of the ability of those with ADD to go into a state of hyperfocus.  The performance situation, memorized or not, can bring about hyperfocus for those with ADD but it is not a guarantee.  While this is a magnificent state of mind, it cannot be called to order.  I have never found this zone during memorized performances.  I have however found this state of mind when using music.  Ironically, it is the barrier, the music stand which becomes the bridge allowing me to deliver.

Scales are often learned and or practiced in a particular order by musicians.  Having a routine way of going about things is natural and effective.  Process is therapeutic and mentally calming.  Over time alternate routines should be explored.  The fresh perspective is good for the mind and the muscles but this should never be tested or expected under the gun in performance.  There need not be anything to prove on jury day with your scales.  An instructor can determine if the student has sufficiently learned their scales prior to the examination.  If a committee is insistent on requiring scales, the student should be allowed to use music or at the very least play them in an order most suitable to them.

This issue is so complex, think of how some people cannot look others in the eyes when communicating, even when saying their name.  Is it any wonder, that some of us might not be comfortable presenting ourselves on stage during musical performance, let alone conforming to standards set by others to meet societal expectations?  Performance is such an emotional and individual thing for the artist.  The musician needs to convey his or her thoughts in their way.  But we don't always have a choice.  I am trying here to include a link to helpful memorization ideas:

http://collaborativepiano.blogspot.com/2007/07/memorization-tips-and-hacks.html#.U7gSuvldWSo

Mahler 9 2nd Horn Solo!

This morning I have been listening to the opening of Mahler 9; one recording after another.  I never intended to do this but for some reason, which I cannot now recall, I let this happen; the blessing/curse of Spotify!  At any rate, the style of the very first recording I heard, Berlin, surprised me in how it contrasted the memory I have of it.  You see, like all good, well schooled musicians, there was a time when I spent hours in the listening library with score in hand.  I have to admit, I had let this all too important daily listening slide by unchecked.  My distant memories are not reliable.

Of the 20 or so recordings, recordings going back to the 1930's, I am so surprised at the variety of styles of the stopped notes in particular, from very marcato to sustained and full.  Also, dynamically some are very forward (even loud) to subdued.  I followed a trend for a while thinking that the marcato version might be a thing of the past but the Walter recording with Vienna, the oldest I could find, was one of the most legato,  in contrast to several contemporary recordings exhibiting emphatically pronounced syncopation.  

Here are are my two favorites.  I love the disregarded cracked note and intonation problems in the Vienna/Walter recording, style, was what mattered back then!  Why is a tuba playing in the first four bars? The San Francisco MTT recording is perhaps my favorite, kudos to that second horn player, San Francisco, incredible as always!

Gustav Mahler – Symphony No. 9 in D Major: I Andante commodohttp://open.spotify.com/track/5v7PN82c1AroBxLeXinKSQ

San Francisco Symphony & Michael Tilson Thomas – Symphony No. 9 in D Major: I. Andante comodohttp://open.spotify.com/track/1s2ALRpDB2GgecdOzIeDxU

David Guerrier "The trumpet and the horn"

I was just on Spotify listening to the "100 Best Concertos" and stumbled on David Guerrier.  Wow what a fresh take on Mozart!  Anyhow, I thought I should post something about this young amazing horn player who evidently plays the trumpet equally well.  I am trying clumsily, using all of my precious time, to post a this blog; complete with a photo and a link.  The photo should be above and the link to Spotify should be:  John Nelson – Horn Concerto No. 4 in E flat major K495: III. Rondo (Allegro vivace)  John Nelson is the conductor of Ensemble Orchestral De Paris.  At any rate, I think the short biographical information I have found about David on medici.tv should get you interested in him.

Born in December 1984, David Guerrier began to play the trumpet at the age of seven. He entered the CNSM of Lyon and studied with Pierre Dutot. Since October 1998 he has also been studying the barocco trumpet with Jean-François Madeuf.

David Guerrier took part in many summer tours such as EU Youth Orchestra under Sir Colin Davis and Bernard Haitink in 1999 and under Vladimir Ashkenazy in 2000, including the third edition of the 20th Century Music Academy under Pierre Boulez and David Robertson in July 1999. As a soloist, he plays with orchestras and gives recitals with piano or organ, as well as chamber music concerts. He had a huge success at Folles Journées de Nantes, Salon-de-Provence Festival with Paul Meyer and Emmanuel Pahud, Divonne and Auvers-sur-Oise festivals as well as with the Orchestre National de Bordeaux under Hans Graf. In January 2002, he plays with the Orchestre National du Capitole de Toulouse and in Paris with the Orchestre Colonne. In 2003 he performed in La Roque d’Anthéron Festival. In 2004, He toured Japan and the USA.

He has been the recipient of numerous awards; 1st Prize at the Markneukirchen, the Porcia, the Philys Jones and the ARD competitions. David Guerrier has been a finalist in Eurovision, awarded the AFAA Prize at the MIDEM and won the YCAA in New York, before receiving a Victoire de la Musique as Soloist of the Year in 2007. David Guerrier is first horn solo at the Orchestre National de France and has been appointed horn teacher at the CNSM in Lyon.

Central picture : © DR.

Foundation to Playing the French Horn

Eric Hauser
1891 - 1964

Eric August Hauser was a prominent horn player, composer, and arranger in New York City in the first half of the twentieth century. He was born on June 20, 1891 in New York to Carl and Vonie Hauser. Carl was a music teacher, giving young Eric an early start on his career. He was a member of the Goldman Band and played in New York theaters including the famous Ziegfield Follies. He was also a member of the New York Symphony Orchestra under Walter Damrosch, where he was second horn to Josef Franzl. During the Great Depression he was employed by he Works Progress Administration (W.P.A.) and later was a frequent performer at Chautauqua, New York. Eric Hauser passed away in March, 1964.

Mr. Hauser was also a composer of the still popular elementary horn method book, Foundation to Playing the French Horn, published by Carl Fischer, Inc. in 1927. He also made several solo arrangements for horn, among them (all published by Carl Fischer, Inc.):

"Ave Maria Meditations on the First Prelude of J. S. Bach" by Charles Gounod

"Nocturno" (1932)

Berceuse from "Jocelyn" by Benjamin Godard

Modern French Horn Concert Repertoire, with piano accompaniment (1932)

Miniature Concert Repertoire for French Horn in F, with piano accompaniment (1935):
1. Twilight Thoughts. 2. At the Fair. 3. Soldier Song. 4. Woodland Memories

In the photo (which I am having trouble posting to my blog) Mr. Hauser is seen in a recording or broadcast studio with Miss Ellen Stone. His horn is a single B-flat with F extension. The photo below was taken at Chautauqua, New York in 1939. In the horn quartet, Mr. Hauser is standing on the left with Josef Franzl and two unidentified colleagues to his left.  For the photo, other cool photos and the original source of information for this blog post go to http://www.rjmartz.com/horns/Hauser/ 

To Tell the Truth

Ok, I've already mentioned that someone needs to get off their butt and write a great book/article on Forrest Standley.  Now for another great idea.  Someone needs to arrange piano accompaniment for the 150 melodies in the Arban book.  Has this been done already?  It would make a great tool for learning phrasing and musicality.  It would be a good reintroduction into opera for most of us and certainly all students!  I've got to keep reminding myself of the things I've been meaning to do.  One is to write an article for the Horn Call on America's first Horn Concerto!  My thesis subject!  It'll get done.  Maybe soon!