by Lisa Bontrager, IHS Advisory Council Member

This afternoon, I enjoyed the faculty horn recital of Dr. Sarah Schouten at the Penn State School of Music. Sarah is both my former student and my successor. She played beautifully and boldly. A favorite piece was When I’m Older, by Shanyse Strickland (vol. 6 no. 1, vol. 6 no. 4, vol. 8 no. 12). It allured me into a reflection on my career and what may be ahead for me. After two horn degrees at University of Michigan, I spent two years freelancing in the Cincinnati area, then 37 years teaching and performing at Penn State. And now, I’ve been retired from that job for 3 semesters. I chose to retire on the early side, after a long stint with aging parents and their exhausting care. So now…I am still playing and traveling and teaching, and I am so grateful.

The best things about a horn career are music and people. Playing in a horn section, or in my case, playing tons of chamber music, is a great way to make deep and lasting friendships. Horn players know how to “lean in” and support one another, and I love that! Teaching scores of students has been unbelievably rewarding and that, certainly, is really all about the people. I am going to have the opportunity to keep it going with my ’23-24 position at the University of Kentucky with a Recurring Guest Artist Residency where I will augment the work of Dr. Melanie Kjellsen. I head to Lexington next week and I can’t wait. (If anyone needs a sabbatical or short-term replacement, please give me a call!)

Another recent highpoint was attending the 55th annual IHS Symposium in Montréal. Again, the music and horn playing were inspiring, and seeing old friends was energizing. My weeks are filled with just enough performing as I continue to play in the Pennsylvania Chamber Orchestra (moving down to second horn has been awesome), Penns Woods Music Festival, Masterworks Festival, and in my position as third horn in the Punta Gorda (Florida) Symphony. I even have a “reunion” gig with the Millennium Brass coming up later this month.

These playing and teaching opportunities keep me moving forward, practicing, seeing old friends, and meeting new ones. I am grateful to be exhausted by three darling grandbabies, ages 3 and under. I am blessed, and “when I’m older,” I hope to continue to enjoy both music and friends.

I made a CD in honor of my aging father who loved hymns. Please enjoy his favorite, It is Well With My Soul.

Meet the People—Horn and More Proofreader

by Heather Thayer

Happy October, horn friends! A few months ago, I was pleased to be asked by my dear friend Mike Harcrow to be a part of the Horn and More team. I enjoy getting a first look at the newsletter as I proofread the articles, and I am thrilled to be a small part of our vibrant, friendly, and active horn community.

As is typical for many of us, my experience with the International Horn Society began when my undergraduate horn professor, Dr. Willard Zirk, took us to events like regional workshops and the International Horn Competition. As a young horn player, I was deeply impressed by the amount of information and experiences available as well as the community and relationships built among horn players from all over the world. Since those early days, I have continued to attend and perform at regional workshops and international symposia. Two of my recent performances took place last year with the Arkansas Professors Quartet at the Mid-South Horn Workshop in Fayetteville, Arkansas, and with the HornPipe Duo (flute and horn duet) at the 55th International Horn Symposium in Montréal.

After earning my music degrees (BS in Music, Eastern Michigan University, MM in Horn Performance and Music Theory, Bowling Green State University, and DMA in Horn, University of North Texas), I have had the honor to spend my life working with college students as a horn, aural skills, and music theory professor. I began my college teaching career at Ouachita Baptist University, and I am currently at Henderson State University in Arkadelphia, Arkansas. I deeply cherish the opportunity to assist all of our music majors grow as musicians and find their place in the world. While here in Arkadelphia, I have developed a deep love of chamber music and have made it my focus for performance. I perform with my colleagues at HSU and in the HornPipe Duo, and I am the founder of the Arkadelphia Chamber Players which has performed several concerts for our students and community members. I enjoy performing with the Natural State Brass Band in Little Rock, Arkansas and the Lone Star Wind Orchestra in Dallas, Texas. For fun, I love playing alphorn quartets in South Dakota with Amy Laursen, Todd Cranson, and Kurt Hackemer. 

I wish you all the best as you prepare for rehearsals, performances, and classes this year. I hope to meet many of you in Colorado this summer for IHS 56! 

by Ian Zook

Volume 11—Lowell Greer

This month’s featured album, An Odyssey of Horn Literature, dates from Lowell Greer’s early career and highlights his broad range of musical tastes. Greer is well known for his benchmark recordings of natural horn repertoire on both Harmonia Mundi and L’oiseau Lyre labels—including works by Mozart, Beethoven, and Brahms—which established a standard for the sound concept and style of modern natural horn playing. What a treat it is then to explore his valve horn recordings on vinyl!

Lowell Greer (1950-2022) was a Wisconsin native who studied with John Barrows at the University of Wisconsin before moving to Chicago to continue his studies with Frank Brouk, Helen Kotas, Ethel Merker, and Dale Clevenger. His orchestral engagements included Assistant Principal with the Detroit Symphony, and then Principal horn positions with the Mexico City Philharmonic, Antwerp Philharmonic, Cincinnati Symphony, and finally the Toledo Symphony. During this period, he was also an active soloist and winner of multiple international competitions, all achieved while concurrently teaching at prestigious institutions including the University of Cincinnati, the University of Michigan, and the Carl Nielsen Academy in Denmark.

In tandem with his superlative performance career, Lowell Greer was regarded by all who met him as a true ambassador for the horn’s history and music. His knowledge of everything regarding horn and his enthusiastic mentoring of students was always on display at regional workshops and international symposia, as well as at the music camps he frequented including the Kendall Betts Horn Camp, the National Music Festival, and many others. The International Horn Society honored Lowell’s accomplishments with the Punto Award in 2008 and inducted him as an Honorary Member in 2014.

Let’s dive into the album! An Odyssey of Horn Literature was recorded in 1980 with pianist Arvi Sinka on the Coronet label, a small boutique studio based in Columbus, Ohio. Lowell programs several short recital pieces and convincingly displays his artistry by drawing the essential elements of style and character from each of these varied works.

Jean Françaix’s charming Divertimento requires fleet register changes and technique, all while maintaining a light and effervescent sound. Greer’s precise use of flutter-tonguing, trills, and crisp articulations accentuate this humorous romp as the piece closes:

Jongen’s Lied is the least known work on the album. Greer weaves this rhapsodic melody with ample sustain and careful balance with the piano texture:

Greer takes a more rugged approach in Kvandal’s weighty Introduction & Allegro. This music has rhythmically active dialogue between the horn and piano, and Greer widens his tone and articulation style to capture the sounds of struggle and heroism:

Rossini’s grand showpiece, Prelude, Theme and Variations, is a dazzling display of Greer’s virtuosity. The velocity of his performance is striking, with incredible dexterity and a meticulous articulation clarity that creates a thrilling charge to the final cadence!

This album is a wonderful collection of recital favorites, each one given a refined interpretation by this great master of the instrument. We hope you’ve enjoyed An Odyssey of Horn Literature, and thank you for reading Horn on Record!

Here is a list of new items available for purchase at the IHS Online Music Sales page. These works were all written by John Graas, Jr. and edited by Jeff Snedeker.

Block Sounds

Block Sounds was recorded in Los Angeles on August 15, 1957, and released on Graas's album Coup de Graas. In the album’s original liner notes, jazz critic Leonard Feather wrote:

Written in a modern jazz vein but with traditional roots, it is based on a 32-bar pattern with solos by Pepper, Collette, Cooper, Moer, and Clark. It goes out lightly without any climactic pretension.

It is scored for horn, alto sax, tenor sax, trombone, piano, bass, and drums (with alternate parts for trumpet, alto sax, horn, baritone sax, and tuba). 

Blue Haze

Blue Haze was recorded in Los Angeles in June of 1953 and released on Graas’s album French Horn Jazz in 1957. It is scored for horn, tenor sax, piano, bass, and drums.

Mood

Mood was first recorded in July 1956 by the Westlake College Quintet and released on Complete College Goes to Jazz. In the liner notes for the Quintet recording, John Tynan of Down Beat magazine wrote:

Redolent of a restless Caribbean night. From the almost mournful opening theme in minor to the brief solo spots assigned [to] Firmature, McDonald, and Fritz, the feeling of tropic unease is sustained throughout. There is atonal voicing in the dissonant intervals between the horns [i.e., winds] in the first 16 bars, with a rhumba beat lurking in the background. A straight jazz 4/4 beat takes over on the bridge with the horns modulating into intervals of thirds. Firmature’s contrasting tenor work, from pretty to nearly shouting, is notable.

It is scored for horn, tenor sax, piano, bass, and drums (with alternate parts for horn, alto sax, tenor sax, and trombone). 

Rogeresque (1955 version)

Rogeresque was composed as a tribute to Grass’s friend and mentor Milton “Shorty” Rogers. Rogeresque was recorded two different times, first in 1955 for seven parts and again in 1957 in a quintet version. Tom Mack, writer, critic, and publicity staff member at Decca Records, describes the piece:

One of the two major influences (the other is, of course, Gerry Mulligan) on Graas’s approach to jazz composition is his friend Shorty Rogers, whom John salutes herewith. In addition to the fine horn performance, this selection highlights the beauty and inventiveness of Mariano’s alto and Candoli’s trumpet.

This version is scored for alto sax, trumpet, horn, guitar, piano, bass, and drums.

Rogeresque (1957 version)

 Of this later arrangement, jazz critic Leonard Feather wrote:

Rogeresque is played by the small group…opening with eight bars of jumping piano leading into the theme, it proceeds to some pleasantly casual jazz on the traditional I Got Rhythm changes by Pepper’s tenor (two choruses), then offers 16 measures to Moer and returns to a brief ensemble to seal it off.

This version is scored for horn, tenor sax, piano, bass and drums.

Swing Nicely

Swing Nicely was recorded in Los Angeles on August 15, 1957 and released on the album Coup de Graas. It is scored for flute, oboe, alto sax, horn, trombone (alternate part for tuba), piano, bass, and drums.

by Josh Cote

As I sat on stage performing Strauss’s Don Quixote with the New World Symphony, I struggled to project my horn part through the straight mute I was using. The muted tones were a bit muffled and out of tune. As a professional horn player, I was frustrated with the limited options for high-quality mutes, especially in the extreme low range as in the famous Pines of Rome excerpt.  

After the concert, I couldn't stop thinking about that insufficient mute. I had experienced the same issues with many mutes during my career when playing muted passages in orchestral works like Mahler 1 and 7, Shostakovich 5, Debussy’s La Mer, Daphnis and Chloe, and others. I started researching mute construction and materials, looking for ideas on how to improve intonation and tone quality. When I discovered the capabilities of 3D printing, everything clicked.

With 3D printing, I could design mutes in intricate shapes to specifically control volume and tone color. I could experiment with small design tweaks quickly and cost-effectively through rapid prototyping. Best of all, I found a 3D printing material that mixed wood particles into the plastic, creating a warm, natural sound. This was the perfect material for achieving the refined muted tone I sought.

As I delved into 3D printing, I realized there was also an artistic side to designing mutes. Just like a painter with a blank canvas, I could create unique outer mute shapes and internal structures.

Creating these mutes fused my passions for horn performance and design. But I also had a larger vision of helping horn players everywhere achieve more expressive playing through better equipment. To bring my dream to life, I tapped into Miami's bustling startup community. I found designers, engineers, and business experts to support turning my ideas into a real mute production company.

It wasn't always smooth sailing. Early mute prototypes had issues with fit, durability and consistency of sound. The 3D printing process involved tweaking many settings like temperature, print speed and layer resolution in order to print mutes with the right balance of strength and acoustic properties. After extensive trial-and-error, I honed in on the optimal printing methods.

As news of my mutes spread, I received orders from prominent orchestras including the Philadelphia Orchestra. The mutes have developed a following for particular low horn excerpts because they play in tune throughout the range. It has been incredibly fulfilling to hear my mutes contribute to moving performances across the country.

While my mute designs have continued to advance over the past few years, my core mission remains the same: give all horn players access to equipment that unlocks their peak artistic expression. When I reflect on my journey creating Wynwood Mutes, I'm grateful that one frustrating performance led me to establish a company that brings the beauty of the horn to audiences worldwide. Although the path of designing, testing, and building mutes was challenging, the rewards have been infinitely greater.

I can't wait to see what the next chapter holds for Wynwood Mutes as I develop new mute innovations and help more horn players elevate their performances. 

by Inman Hebert 

As busy students, we navigate rehearsals, classes, assignments, projects, work, clubs, extracurricular pursuits, and other obligations. Because time is a finite resource, many of us struggle to find time to practice. Luckily, building good time management habits can be learned, and understanding the tools and strategies to manage our time consciously reduces stress, increases productivity, and prioritizes our activities.

To begin this process, we must evaluate how we spend our time. Examine commitments to determine if they align with priorities and interests. Identify time spent browsing social media, chatting, playing video games, and watching streaming services or live sports. Think about breaks between classes. This time accumulates throughout the day, detracting from productivity. In scrutinizing time management, we must visualize our future and examine whether it matches our intention.

To begin improving time management, leverage technology by creating a planner. Enter all classes, tests, deadlines, assignments, appointments, rehearsals, performances, and other time commitments. On this planner, try to schedule practice times. Too often, with busy schedules, it is easy to believe that we will practice music when we get around to it; however, without scheduling practice time, music loses priority in our lives. Do not wait until you are in the mood to practice, because motivation follows action.

While planners help us visualize our obligations, we must also understand what is necessary for completion. We underestimate the time required to complete work. Break longer-term projects into smaller tasks and set incremental deadlines. Try to create a realistic timeline but build in a buffer. Then, in planning ahead at the end of each day, build in accountability. Each weekend, reflect on the past week and prepare for the next week and month. The more routine, the less energy is expended thinking about when and what will be accomplished. Through this process, we can break up long-term practice goals, such as learning concertos or improving aspects of technique.

Using a planner effectively can reduce procrastination; however, inevitably, when we procrastinate, identifying the emotions behind the action can help us move forward. Is there insecurity, self-doubt, or anxiety about a task? If so, starting with a smaller measure of progress can make it more achievable. Is procrastination about infinite choices? Learning to say no sometimes to social invitations can be challenging, but setting boundaries with ourselves and with others helps us focus on our priorities.

Within our allotted practice time, we must also concentrate on one task at a time and stay in the present moment. Multitasking is a myth, so understand the costs of distraction. When switching between tasks, even briefly, for example, to respond to a text, the brain has to refocus and may take over twenty minutes to return fully to the previous activity. Eliminate distractions. Even having the phone within reach can reduce productivity, as willpower must be exerted to resist reaching for it. Our standards for practice assume that the time spent practicing music will be focused and deliberate. In addition to distractions, our sleep schedules can also affect our focus. Getting a reasonable amount of sleep can improve our focus and productivity.

Our commitments must not exceed our capacity to practice music and for self-care. By exercising better time management, we can maximize our available time, and this creates space for fun and balance in our lives, setting us up for success in both the present and the future.

Inman Hebert is a freshman music major at the University of Alabama and a member of the IHS Student Advisory Council.

by Layne Anspach

Hello chamber musicians!

George Onslow’s Sextet in E-Flat Major, Op. 30, is the focus of this month’s Chamber Music Corner. Onslow was born to an English father and French mother in 1784. After early piano and cello studies, Onslow began composition studies with Anton Reicha in 1808, which inspired him to write chamber music. While Onslow gained great popularity in Germany and Austria, he was less well-known in his homeland of France. His wealth allowed him to compose as he wished, however, mostly ignoring the French public’s taste for opera. The 1830s and 40s saw the confirmation of his career with appointments to a number of institutions, an honorary membership in the London Philharmonic Society, for example, and election to the presidency of Athénée Musical. The decline of his health forced Onslow to give up composing in 1852; he passed away in 1853 in Clermont-Ferrand, France.

The Sextet Op. 30, scored for flute, clarinet, bassoon, horn, double bass, and piano, was written in 1825 and published a year later. Upon hearing bassist Domenico Dragonetti perform in London, Onslow started to incorporate bass into his chamber works. This may explain why the bass is included, but it is unclear whether Dragonetti inspired Onslow for this specific work.

The first of four movements, Introduzione. Largo - Allegro vivace assai, starts with a slow introduction carried mostly by the piano. The piano continues with running sixteenths in the exposition in the faster tempo. The winds play quick virtuosic runs to answer the pianist’s technical display. Interjecting on occasion, the piano cedes melodic content to the flute, clarinet, and bassoon during the development yet returns to the leadership role in the recapitulation.

The A section of Menuetto. Allegro is characterized by an octave leap motif initiated by the horn with chromatic runs in the piano. The B section, Piu lento, is of a playful character in the winds with an anacrusic eight-note motif. The horn leads the return to the A section with a startling entrance, and the movement ends with a delicate chordal conclusion.

The third movement is a theme and variations. Andante con variazioni starts with a piano melody, passing back and forth every four measures. Each variation is worth a listen as Onslow cultivates the melody: Var. I. Piu Presto, Var. II. Stesso moto, Var. III., Var. IV. Tempo I, Var. V. Piu Presto. (I especially enjoy Variation IV in which a flowing horn melody begins the variation.) The final movement, Finale. Allegro, disperses melodic content equally between winds and piano. It is light and upbeat in nature but does not develop in character as the previous movements have. The work comes to a delightful three-chord conclusion.

The reference recording is from Ensemble Initium’s album George Onslow—La musique de chambre avec vents (the complete chamber music for wind instruments) with hornist Stéphane Bridoux performing.

From Europe—Swiss Faces

 by the Geneva Brass, Christophe Sturzenegger, hornist

For this album, the Geneva Brass wanted to highlight Swiss cre­ations by recording only original pieces for brass quintet by Swiss composers, so we let the composers present their works to us. Just like the famous Swiss army knife, the Geneva Brass is multi-purpose and multi-talented. The ensemble’s warm, distinctive sound shines while sharply interpreting a Bach fugue, sweetly whispering a Cosma ballad, or gently humming a traditional Alphorn melody. The ensemble can be powerful when playing alongside an organ or a big band but can also be soft and tender when accompanying a choir, panpipes, or even a harp. The Geneva-based brass chamber ensemble is an ardent promoter of Swiss culture and regularly commissions new pieces to expand its repertoire.

Please enjoy this track from the album:

Swiss Faces is available in its entirety on:

https://www.claves.ch/products/swiss-faces-geneva-brass

https://open.spotify.com/intl-fr/album/4Qn3sYACyvPWwbZ7DTBlQz

by Caiti Beth McKinney

Hello everyone! This month, I’m excited to share the works of Arturo Márquez with you! You may already be familiar with this composer because of his ever-popular Danzon No. 2, but he also has a rich repertoire of chamber music, including a woodwind quintet entitled Danza del Mediodía (which is one of my favorite pieces at the moment).

Márquez was born in Mexico to a family with a rich history of music-making. His father was a mariachi performer, and his grandfather was a folk musician as well. Their influence on the young Arturo cannot be overstated, as it is their instruction in a wide variety of Mexican musical styles which would later influence Márquez’s compositions. The composer had eclectic musical tastes in his childhood, stating that “…[his] adolescence was spent listening to Javier Solis, sounds of mariachi, the Beatles, Doors, Carlos Santana, and Chopin.” Additionally, Márquez had classical training at the Mexican Music Conservatory and the California Institute of the Arts, and he also took private composition lessons in France with Jacques Castérède.

Danza del Mediodía is an incredibly fun and challenging wind quintet inspired by the various musics drifting out of Mexican salons and cafes. Márquez made sure to feature every instrument at various times, including a lengthy and virtuosic horn solo towards the middle of the piece, which alternates in conversation with the bassoon. The solo is highly stylized, leaving plenty of room for artistic expression. The piece is unmistakably in Márquez’s voice, calling to mind clave rhythms and elements of Cuban and Mexican dance and folk music. Please enjoy this recording:

The Historic Brass Society will be hosting an in-person Symposium July 10-14, 2024 in New York City, on "Innovations in Brass: Design, Manufacturing, Performance, Repertoire, Teaching." We are currently accepting proposals for presentations of up to 20 minutes, including papers, lecture-recitals, musical performances, and instrument demonstrations relating to these broad topics:

• brass instrument design and development
• manufacturing and publishing
• repertoire, composers, and performers
• historical performance practices
• pedagogy and pedagogues

Proposals should include an abstract of 250 words, a 75-word biography, and email contact information. Performance proposals should include any specific instrument requirements (piano/organ/harpsichord, etc.). Shorter presentations are also welcome; please provide expected timing.

All proposals should be submitted by email to scoffin@historicbrass.org no later than November 15, 2023.

See our website for more detailed information: www.historicbrass.org

Ein Waldhorn Lustig

by John McGuire

Organ Hall, Colorado State University

Hello again from Colorado State University in beautiful Fort Collins, Colorado! IHS 56 is another month closer (July 29-August 2, 2024), and preparations are well underway at this point. We have so many things that are in process and being developed by a wonderful team in order to make IHS 56 a tremendous experience for all. But the only way you will know is to make sure you have plans to be here!

This month, I want to bring your attention to a couple of things. First, the website for IHS 56 and IHCA—don’t forget that we’re doing a collaboration with the International Horn Competition of America—has been launched. You can find it at www.hornsonthehorizon.com as well as links for it on the IHS website and on social media. (Please follow us on Facebook and Instagram.) There, you will find tabs with information on Featured Artists, Contributing Artists, Exhibitors, Planning Your Trip, and much more. Please note that while there is a good deal of information already up, there will be much more coming in the next several weeks and months!

Of particular note this month is that under the tab for Contributing Artists is a link to the application for any who would like to submit a proposal to perform, present on a topic, or both. The application will remain open through December 15, 2023, so make sure you get your proposal in soon.

Last, we will be rolling out several announcements starting in mid-October, including information about the Featured Artists lineup. Stay tuned to Horn and More, the IHS website, and IHS social media because you won’t want to miss anything!