Special thanks this month to Austris for his efforts in providing so much material for this excellent Europe-focused edition of Horn and More. MH
Article
Album Release—Mélodies Volées
by José Sogorb
José Sogorb, horn, Éadaoin Copeland, piano, and other guest musicians; 7 Mountain Records. Listen on Spotify.
Despite current trends and narratives about recording an album, I still felt the need, perhaps a much-too-romantic idea nowadays, to create an all-around, long-lasting musical statement through which audiences could get a proper idea of me as an artist.
I have been playing together with Irish pianist Éadaoin Copeland for quite some time already. Of course we enjoy playing the repertoire written originally for the horn in our recitals, but reflecting on my musical inspirations—works written for other instruments and from very different music styles—led us to start including some of these unconventional works into our concert programs. The “stealing” of these tunes led us to the idea of making an album exclusively of stolen melodies. Indeed, the simple act of translating the album title into French, Mélodies Volées, signifies the transformational element central to this album.
Every tune, no matter how great it is, doesn’t necessarily sound good on the horn; so, with careful consideration, we chose pieces where the instrument has the chance to shine and display its unique voice. The album presents eleven works arranged for solo horn, for horn and piano, and for horn with larger ensemble. In these various settings, you can find music ranging from the iconic first cello suite of Bach to the mellow atmospheres of jazz standards, from the virtuosities of a Paganini Caprice to the eclectic sounds of Björk.
The recording location that we chose for the album was Westvest90, a charming church near Rotterdam with warm, embracing acoustics that make it almost seem as if it was made for the horn sound. The church also houses a beautiful Steinway & Sons concert grand piano and has been running its own chamber music concert series for some years.
Frerik de Jong, sound engineer and owner of the 7 Mountain Records label, took care of all the technical aspects of the recording, guiding us very patiently through the entire process. Recording days are long and intense, so it is of great importance that the producer has a certain intuition to create a sense of ease to help the musicians give their very best.
To finance the project, we set up a crowdfunding campaign on Voordekunst, a Dutch platform which helps artists finance their projects. We are enormously grateful to everyone who believed in our idea and supported us through this platform and other means.
Meet the People—Angelo Nuzzo, IHS Country Representative for Austria
by Angelo Nuzzo
Angelo Nuzzo has served as the International Horn Society Country Representative for Austria since 2020. Born and raised in Italy, he is trained as a biomedical engineer (PhD), a business manager (MBA), and a hornist (MA). His career has developed internationally as a bioinformatician, and he is currently working at the Austrian Research Promotion Agency (FFG) in Vienna.
He studied horn in Italy at the Conservatory of Music in Taranto and graduated from the Conservatory of Music in Trieste. Despite a non-musical career, he has continued to play in several amateur orchestras in Italy, and in Austria with the Vienna University Philharmonic, the Akademische Orchesterverein Wien, the Wiener Konzertvereinigung, and in various wind bands and horn ensembles.
His passion for the instrument eventually motivated him to take over the vacancy of the IHS representation in Austria. Working within the IHS gives him the opportunities—and the great pleasure—on one side, to connect with and get to know top professional and amateur performers, and on the other, to offer the horn community the possibility to enter a more international network. To this end, he works to promote a yearly event dedicated to horn playing in Austria and for connecting with horn ensembles across Europe for common projects and exchange.
A Reflection on Transitioning Careers
by Michal Emanovský
Every so often, we find ourselves standing at a crossroads, where one chapter of our life converges with the beginning of another. For me, a pivotal moment came when I transitioned from my position as the Associate Principal horn with the Seoul Philharmonic Orchestra to take on the role of director at the Czech Center in Seoul. This move was not just a personal evolution but also mirrored the broader dialogues frequently occurring amongst horn players; it raised questions about longevity, the persistent pursuit of quality, and evolving definitions of success and fulfillment within a musician's career.
After the global upheaval caused by covid, I was surprised to find myself considering a position far removed from my dedicated path as a musician. The offer to apply for the position of director at the Czech Center Seoul initially felt beyond my realm of expertise, but I found myself curious. My wife had no doubts—she encouraged me to apply right away. After a period of self-reflection, I decided to step up to the challenge, embarking on this new chapter at the beginning of 2022. Initially, the administrative responsibilities felt like a drastic change from my orchestral life. I had to manage payroll, learn to handle Excel files, and streamline workflows using macros—all tasks with which I had little experience. Despite the steep learning curve, I was keen on developing projects while still finding time to maintain my skills on the horn. This period introduced me to a new network of people involved in the cultural sphere, expanding my horizon and understanding of the industry.
Working primarily as an administrator brought a significant transformation in my relationship with the horn. As a full-time musician, I often played principal horn parts while battling a lingering self-doubt. The constant comparison and the relentless chase for perfection had, at times, overshadowed the joy derived from music. Distancing myself from a full-time commitment allowed me to experience a renewed sense of fulfillment in making music, a rediscovery of the freedom and depth music offered. Each concert, whether a one-time chance to perform with the Gürzenich Orchester Köln or return to the Seoul Philharmonic Orchestra as a guest, now feels more like a celebration, a gift, rather than a stringent evaluation of my skills. I found myself cherishing each composition, wondering if it might be the last time I would be engaging with it.
My current role and my background as a horn player sometimes intersect in interesting ways. I have come to appreciate the fact that my musical background brings a distinct touch to my directorship and can enhance the depth of events and collaborations. For example, I have integrated Czech music into the opening of the Emil Zátopek exhibition or played a horn quartet fanfare at the 30th anniversary of Czech Centres in Prague. Looking ahead, I face the challenging question of how long I can sustain high-level horn playing alongside my demanding job. It’s a constant balance of honing my skills to remain competent as a horn player and steering the rich and varied programming at the Czech Center. I am yet to see whether this pathway is my final destination or a stepping stone to something else.
Sharing this narrative isn't just a recounting of personal experiences; it's an invitation to fellow musicians to embrace the myriad of possibilities that lie outside the familiar terrain. Our training and experiences as musicians equip us with resilience and a unique perspective that can be applied successfully in diverse fields. It is alright to harbor doubts and to critically assess our paths; it is okay to change tracks, to rediscover passions. It is a journey of continual learning, of embracing change with all its uncertainties, and finding a space for growth that accommodates both the old and the new.
Since this month’s IHS Newsletter is devoted to European content, we will take a tour of Belgium and listen to André Van Driessche’s 1986 vinyl recording of Jacques-François Gallay’s Twelve Grand Caprices, Op. 32.
André Van Driessche (1936-2014) was a luminary performer and teacher who exemplified and expanded upon the Ghent school of horn playing. He began his horn studies at age sixteen at the Ghent Conservatory under the tutelage of Jean-Baptiste ‘Maurice’ Van Bocxstaele. Here, Van Driessche was trained in a playing style that emphasized the notable Ghentian trait of lyricism. Success followed quickly, joining the Royal Antwerp Symphony Orchestra as Principal horn in 1957. He subsequently held the same position with the Brussels Philharmonic and the Flemish Radio Orchestra from 1962-1996.
Van Driessche was Professor at the Royal Conservatory of Brussels and established himself as a pedagogical authority for a standardized embouchure technique. Both Van Driessche and Philip Farkas (himself a protégé of the Flemish-trained Louis Defrasne) strived for uniform embouchures that could meet the technical and endurance demands of the contemporary orchestral and solo literature while maintaining the quintessential tone quality of the F horn. For his expertise in addressing deficient embouchures, Van Driessche was regarded as the “Brass Clinician of Brussels.” He was an active member of the International Horn Society and frequent participant in the International Symposia spanning from the 1970’s through the 1990’s.
Each of Gallay’s Caprices are wonderful musical miniatures. They are defined by their compact and efficient form that create contrast and allow expressive interpretive decisions for each performer regarding pacing and fluidity. As such, two complete renditions of these Caprices, as interpreted by André Van Driessche, will be highlighted:
Gallay Caprice No. 1:
Gallay Caprice No. 10:
In both examples, we can enjoy the firm and sonorous tone of Van Driessche that is colored with the slightest shading of vibrato. His intervallic leaps can be very pliable through generous portamento, and then contrasted with immediate and athletic juggling of rapid passagework with equal ease and assurance. As Jeroen Billiet highlights in his chronicle of the Belgian style, lyrical phrasing is tied to narrative and poetic interpretive principles. I believe Van Driessche’s performances of these Caprices beautifully encapsulates these musical virtues.
Gallay’s Caprices can find equal footing in your practice room or as a selected suite of solo pieces for a wide range of public performance situations thanks to their brevity and musical merits. What a treat to have these pieces definitively preserved by André Van Dreissche!
Did you know…
…that the International Horn Society produces podcasts? Host James Boldin regularly spends time with a broad cross-section of fascinating guests, including performers, teachers, composers, IHS officers, and others. We encourage you to spend 30-60 minutes getting to know those who shape and inform our wonderful community. Visit the podcast archive.
The Italian Influence in Argentina—A Tribute to Guelfo Nalli
by Gabriella Ibarra
Fearless Performance—Commanding the Spotlight
Three Tips to Elevate Your Stage Presence
by Katy Carnaggio
Ahhh, the electric thrill of stepping on stage! The hush of the audience, the weight of expectation, the spotlight…it can be both exhilarating and daunting. Here are a few tips to help you direct that energy into a mesmerizing performance your audience won't forget!
1. Perfect the Prelude Have you ever considered the first impression you offer your audience? It's not the first note you play, nor the introduction you give. It's that humble, often overlooked gesture: the bow. Think of it as the opening line to your favorite song. A shaky bow might hint at an unsure performer, while a confident one sets the tone for a stellar act.
Live music is deliciously unpredictable, but one thing is for certain: you’ll step on stage, and applause will greet you. It's a given. So why not prepare for it? Set your phone up, hit record, and take a bow. Watch it. Critique it. Perfect it. If you're hunting for inspiration, there are countless examples out there, from the poised to the hilarious. Nail this simple act, and it's a small victory to bolster your confidence, setting you on the path to a resonant start.
2. Embrace the Stage (It’s part of your instrument!) Once you've nailed that bow, it's time to see the stage as more than just wood beneath your feet: it’s your dance partner, your co-star! Great performers understand that their sound isn't solely produced by the instrument they hold. The stage, with its intricate acoustics, your body, even the distant corners of the hall, are all integral to your performance.
Feel the space. How does your sound dance within it? Does it echo warmly off the walls or playfully flirt with the hall's farthest reaches? As a mental exercise, instead of just projecting outward, envision yourself joining with the walls that are already vibrating in harmony with you. Your challenge? Make the entire room groove!
3. Heroism vs. Authenticity: The Balancing Act Who doesn't love superheroes? Their strength, their capes, their...ability to never need a bathroom break!? In the world of performance, it's easy to feel like you should be superhuman, powering through every moment without pause. Yet it's authenticity, not caped heroics, that truly leaves a lasting impact on your audience.
Whether it's a sip of water or a moment to catch your breath, honoring these small needs can make a world of difference in the quality of performance you share. Besides, a well-timed water sip can be its own kind of performance art!
Stage presence might seem like it's all about charm and charisma, but it's built by learning to be present in little moments like these: perfecting your bow, leveraging the hall's acoustics, and mindfully attending to your needs. Cheers to creating great memories that linger for you and your audience!
The International Horn Society describes itself as a community of horn players from around the world, with respect and collaboration being core values. The horn studios of which we are members serve as microcosms of this larger community. To gain admission to these programs, we had to audition to demonstrate suitable skills. We compete for awards and scholarships, in performance contests, and for open positions; however, in a horn studio, creating a culture of supporting and cheering for our horn colleagues generates a healthy studio which encourages every member to hone their skills and be well-rounded in all areas of musicianship.
In a horn studio, we are all trying to master an instrument characterized as having an intense learning curve and being notoriously challenging, intimidating, and perplexing. Fear of the scarcity of opportunities may lead to unhealthy competitiveness, outweighing the need for a positive studio atmosphere. A false dichotomy often exists between striving for personal excellence and supporting our fellow horn players. Unhealthy competition focuses externally and places our value only in comparison to others; however, we are all on different journeys as we seek to master technique and musicianship. In this long personal development process, we should push beyond our existing barriers, focus on our own progress, and identify our next challenge. Commitment through hard work and dedication can set the standard in our studios and encourage all members to work towards higher achievement.
How can we be more supportive colleagues? While getting to know those in our horn studios, we can show genuine curiosity in learning about their lives and encouraging them to achieve their goals. When fellow horn students struggle, we must show empathy and learn to listen. Encourage open communication and feedback. Welcoming constructive criticism from professors and our peers is how we grow as musicians. As we are asked to provide commentary on other’s performances, we must choose how to frame our observations in a manner that can lead to improvement. A healthy studio will not diminish its members. In providing analysis of performances, compliments can do much for morale. Respect and civility should underlie all of our interactions in the horn studio. Although we are all busy, we should take the time to attend concerts and recitals and celebrate our colleagues’ achievements. Success for one member strengthens the horn studio and benefits everyone.
Horn studios are filled with students with an energy and passion to play music at a higher level. We can motivate each other to push harder, learn as we observe our peers overcome obstacles, and celebrate goals achieved. In encouraging our fellow horn players, we can create a more wholesome environment which supports the success of our horn studios and their members.
Chamber Music Corner—Zdeněk Fibich’s Quintet in D Major, Op. 42
by Layne Anspach
Hello musicians! This month’s Chamber Music Corner features Zdeněk Fibich’s Quintet in D Major, Op. 42. Fibich is known as one of the “big three” Czech composers in the second half of the 19th century, Smetana and Dvořák being the other two. Fibich was born in 1850 in Všebořice, Bohemia. At the age of seven, he began piano lessons with his mother but went on to study music in Prague (1864-65), Leipzig (1865-67), and Mannheim (1869-70). Between 1875 and 1881, Fibich worked as conductor and choirmaster at the Provisional Theatre in Prague in addition to being choirmaster at the Russian Orthodox Church there. Starting in 1881, he focused only on composing and private teaching. His compositional output was mostly opera, with at least seven operas and seven melodramas in his oeuvre; his orchestral works include three symphonies and six symphonic poems; and he composed piano music as well. Fibich died of pneumonia in Prague in 1900.
While most of his chamber works were written early in his career, the Quintet in D Major, Op. 42 (1893) for piano, clarinet, horn, violin, and cello is considered his most important chamber piece. Fibich’s diary indicates that the work was inspired by his relationship with Anežka Schulzová, pupil turned collaborator and lover, who wrote the librettos for his final three operas. The work also exists in a version for the standard piano quintet which includes string quartet.
Following a typical sonata form, the first movement, Allegro non tanto, starts with the clarinet introducing the first melody, characterized by an initial upward leap. Within the first fifteen measures, each player has taken a turn presenting the A theme. After a tutti passage, the piano introduces the B theme, a slow reserved ascent contrasting the energetic opening. The development combines the key motivic elements from each melody, upward leap and stepwise ascent, building energetically towards a prominent peak by the piano which dissipates quickly into the recapitulation. The coda is signaled by a strong statement in the piano which brings the ensemble to the end of the movement. The piano takes the lead throughout the breathtakingly beautiful second movement, Largo. The unique sonorities of the ensemble come through as the differing timbres interweave. Sprinkled throughout are lovely cadenzas or little features for each instrument.
The Scherzo. Con fuoco e feroce starts “with wild humor,” as instructed by Fibich. The first of two trio sections features a prominent horn solo. The violin later joins, adding a continuous commentary to the horn melody. In the final ten measures of the first trio, the piano alone leads the ensemble back to the scherzo. The second trio, Allegretto vivace, features the cello and clarinet while the violin and horn rest. Fibich creates momentum with syncopation in the right hand of the piano. The movement ends with the return to the scherzo, outlining the rondo form. The final movement, Finale. Allegro con spirito, is jovial, alternating between light and lyrical sections. Fibich again writes so as to highlight the contrasting timbres of the instruments. The work ends with a Grandioso featuring the first theme with violin obbligato, followed by an energetic and familiar conclusion.
Hornist Vladimíra Klánská is heard on the reference recording: Fibich: Piano Quartet, Op. 11 & Quintet, Op. 42.
Ein Waldhorn Lustig
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Contemplations for Solo Horn with Piano and Percussion, by Douglas Hill
These three original melodies came from the songs of three flutes. While researching the musics of Native Americans in the late 1980s-early 1990s, Hill became deeply interested in their flutes and their traditional melodic styles. Each new flute that he acquired—and learned to play—seemed to have its own sound, technical requirements, and tendencies, and, thus, its own unique melodic voice. Contemplations for Solo Horn with Piano and Percussion are reflections on three such original songs which came to Hill over 30 years ago. The horn player is asked to evoke these thought-filled melodies while incorporating numerous ornamentations typical of Native American flute performance. The pianist primarily establishes simple harmonic dialogues, while the percussionist is asked to color and enhance the momentum with a gourd-and-rawhide rattle, a hand drum with gut head, a glass or ceramic wind chime, and a rainstick.
A Marriage Makes of Two, for Horn and Voice, by Douglas Hill
Composed as a gift for Katie Johnson Webb (horn) and Daniel Webb (vocalist), this setting is based on a letter by Mark Twain, sent to his wife, Olivia, a few months before they married in 1870. The letter is housed at The Mark Twain House & Museum in Hartford, Connecticut. This flowery, historical quotation continues to be frequently quoted at wedding ceremonies, perhaps because it is filled with such conviction, optimism, hope, and celebration.
This item includes versions for both high and low voice.
For this month’s Europe issue of Horn and More, I want to share the music of Samuel Coleridge-Taylor with you. Although only one of his chamber pieces features the horn, Coleridge-Taylor’s Nonet in F Minor is a substantial and invaluable addition to any chamber musician’s repertoire, and his orchestral oeuvre is not to be missed!
Samuel Coleridge-Taylor, named after the poet Samuel Taylor Coleridge, was born in London in 1875 during the height of the Victorian Era to parents Daniel Peter Hughes Taylor, a doctor from the African country of Sierra Leone, and Alice Hare Martin, an Englishwoman. It is unlikely that Samuel ever met his father, who returned to Sierra Leone that same year, leaving the future composer to be raised by his mother alone. She was able to provide him with violin lessons from a local instructor from a young age, and in 1890 the musician entered the Royal College of Music in London. His talents were prodigious enough to catch the eye of a silk merchant, Herbert Walters, who would become Coleridge-Taylor’s patron and sponsor, paying for his education.
Coleridge-Taylor’s mixed-race ancestry had a profound impact on his life and career. During his daily commute to school, Samuel was forced to endure comments about his appearance and color, and insults and slurs would continue to follow him his whole life. Even supposedly well-meaning titles bestowed by fans were laden with problematic racialized terminology; for example, after a successful tour of the United States in the early 1900s, American musicians took to calling Coleridge-Taylor “the African Mahler.”
Despite both outright and microaggressions, Coleridge-Taylor’s music was widely celebrated during his lifetime, particularly his orchestral repertoire, including such pieces as Hiawatha’s Wedding Feast (1898), which he would later expand into a cantata trilogy entitled The Song of Hiawatha. The composer’s successes were so far-reaching that he was even received at the White House by President Theodore Roosevelt, and his music was championed by Edward Elgar. Coleridge-Taylor’s compositions frequently incorporated elements and melodies pulled from African music, Negro Spirituals, as well as British, Irish, and other cultural folk tunes, pulling together parts of his identities into a seamless whole.
The Nonet in F Minor, Op. 2 (1893), written while he was teenager and student at the Royal College, is one of Coleridge-Taylor’s earliest published works but is, nonetheless, a work of art. Full of lush melodic lines, contrapuntal interplay, and beautiful use of textural colors, this piece is an underappreciated gem. Enjoy!
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* Como prepararse para audiciones de orquesta ** Pensamientos que pueden guiarte
por Nuri Guarnaschelli
Si eres joven y estas pensando en que te gustaría tener un trabajo como cornista ( Hornplayer) en una orquesta profesional , debes pensar ya en orientar tu modo y ritmo de formación en esta dirección y con este objetivo.
Muchas veces lamentablemente el estudio que haces durante años y años está muy lejos de prepararte para este fin, para ser un buen músico de orquesta o para demostrarlo que o eres en una prueba ( Probespiel ) profesional.
En la orquesta no se buscan en primera línea solistas , se buscan instrumentistas que sepan del trabajo en grupo, en fila, que sean sensibles a lo que pasa a su alrededor. Y dos aspectos fundamentales son ritmo y afinación en primera línea, al que se suman tantos otros por supuesto , pero sin estos dos no puedes tocar en una orquesta ni con otros músicos. Si quieres ganar una audición deberás básicamente ser una persona que escuche muchísima música , muy diversas versiones y conozcas las obras profundamente, pues en una audición ,un buen jurado ,escucha este aspecto en tu modo de presentar los solos.
El prepararse para una audición tiene varios aspectos a tener en cuenta : el técnico, el artístico y el corporal. El técnico incluye tu perfeccionamiento al punto de tener un modo de tocar limpio, afinado y una articulación precisa y adecuada al estilo que estés presentando en cada obra o los solos. El aspecto artístico incluye el conocimiento de los estilos con la articulación, el sonido, el fraseo y el carácter que sean acordes al compositor y obra. Y por último el tema físico es algo que deberías tener en cuenta y considerar en hacer alguna actividad que colabore a que te sientas tonificado y mentalmente fuerte , recuerda el famoso “ mens sana in corpore sano “ ! . Puede ser yoga ( a mi ésta práctica personalmente siempre me ha ayudado mucho a estar equilibrada en todos los sentidos , mental y corporal ) o algún deporte de tu agrado. El estado mental y que tengas confianza en ti mismo es fundamental al momento de audicionar. Algo muy importante que quiero recalcar es que todos estos aspectos los debes tener en cuenta para tu estudio diario y durante todos los años de estudio y mas tarde profesión. No te servirá mucho el prepararse de un modo especial para una prueba 1 mes o dos meses antes de lamisma, eso no te llevara a tener éxito, solo cambiar tu modo de tocar será lo que te llevará a que un jurado se decida por ti o por otro en el cual escuchen mejor técnica y personalidad musical.
Recuerda que en 5 minutos máximos de una primera ronda deberás convencer al jurado que vale la pena seguir escuchándote y en las próximas rondas lo mismo. Debes convencer con tu técnica impecable y tus calidades musicales y de sonido. Lo que mas valorará el jurado en la primera ronda será : ritmo , afinación , articulación y sonido. Ya en las próximas rondas , cuando estos aspectos antes mencionados ya estén claros , comenzarán a evaluar mas tus conocimientos de estilo y tu calidad artística. Piensa que ellos están buscando al “ colega “ ideal que mejore la calidad de su fila y de su orquesta y no están buscando un estudiante adelantado, buscan un profesional que conozca el trabajo para el cual te estas ofreciendo! Otro consejos es que todos los días escuches obras importantes de nuestro repertorio sinfónico , pero también mucha música de cámara , música para cuerdas y opera, ésto cultivará tu sentido musical y te desarrollará como músico.
Si no te emociona escuchar música y no estás ahora mismo dispuesto a hacer música en tus tiempos libres con amigos o colegas , te recomiendo darle un vuelco a tu vida y pensar en estudiar otra cosa… nuestra profesión es muy dura y sin pasión , aunque logres entrar a una orquesta, te Estos pensamientos que estoy escribiendo aquí son el producto de mis propia preparación para pruebas ( Probespiel) en Alemania , Francia y Austria. Y también mi experiencia en las orquestas donde fui corno solista y participé como jurado : Filarmónica de Stuttgart durante 4 años y Radio y TV de Viena ( RSO) durante 16 años. Pero también de mi experiencia como docente desde hacer 10 años en la Brass Academy Alicante en donde intento ayudar a mis alumnos.
La formación que damos todos los profesores en esta Academia internacional está básicamente orientada a formar músicos profesionales ( orquesta , música de cámara o solistas) y a preparar a nuestros estudiantes técnica y estilísticamente para que en un largo o corto plazo sean capaces de hacer una buena audición y poder contribuir como buenos músicos a la orquesta que lograrán entrar.
Para eso no solo hacemos clases individuales sino mucha música de cámara y repertorio orquestal en grupos , no es lo mismo conocer los solos y partes que escucharlos y tocarlos en el contexto armónico y musical como son en la orquesta. Las clases en grupo además entrenan el aspecto escénico , desarrollando experiencia de atril y firmeza emocional.
Lograrás solo presentar bien tus solos en una audición si conoces el contexto en el cual están escritos. Quiero compartir con vosotros algunos ejemplos auditivos de nuestras clases de repertorio orquestal en la Brass Academy Alicante (pinchar los links).
Por ultimo quiero dejaros un pequeño plan diario de puntos a tener en cuenta en vuestro estudio diario.
La idea es que SIEMPRE estés preparados y listo para hacer una buena audición y que no te debas preparar especialmente. Tu estudio diario debería entrenarte automáticamente para este fin.
Hello all! Hopefully, you have seen the start of our rollout of announcements about Featured Artists for IHS 56: Horns on the Horizon which will continue over the next few weeks. If not, please see our website and Facebook and Instagram pages. There are so many people who I am genuinely excited to present next summer, and I know that you will be thrilled to hear all of these wonderful artists, too!
We are planning to open registration for IHS 56 in mid-to-late December 2023. The registration website is currently being built and will be active as soon as we get all of the details just right. We will, of course, announce the opening of registration on all of our social media channels as well as at www.hornsonthehorizon.com. You will be able to access registration from a link on the website, which will take you to a special page that Colorado State University is building just for us. On this registration page, you will be able to select which level of IHS membership you are, whether or not you would like to purchase a ticket for the big social event mid-week, enter various competitions, and reserve a dorm room at CSU. (Dorm rooms can be reserved and paid for through this process and will be less expensive than hotel rooms in the Ft. Collins area. Dorm room rentals will also come with 2 meals per day included! If you would like to stay in a hotel instead, a range of options will be listed on www.hornsonthehorizon.com website.)
Finally, if you are a potential vendor, exhibitor, or sponsor, you should have recently received an email communication from Christine Pelletier, the Exhibits Coordinator for IHS 56. This communication was sent out based on a list from IHS. If you did not receive it, please feel free to reach out to Christine anytime at exhibits@hornsonthehorizon.com. In that email, you should find information about costs for registration, extra tables, program advertisements, sponsorship levels, and more. And in an effort not to bombard you with constant emails over the next several months, we have tried to streamline the process by providing you with all pertinent information up front. Of course, it’s impossible to include every little detail, so please do not hesitate to reach out to us if you need clarification or additional information on any issue. We want IHS 56 to be as enjoyable as possible for everyone, including our great vendors and sponsors.
See you in Colorado!
As we draw closer to the end of the year, please remember that the IHS is a 501c3 organization, which means we can accept tax deductible donations from anyone who pays US taxes. We are grateful for your support of our mission: to connect artists of all ages and backgrounds across the world through horn playing, education, and fellowship. Give here today!
Columns: Layne Anspach, Chamber Music Corner Daniel Grabois, Editor, Pedagogy Column Caiti Beth McKinney, Composer Spotlight Jeff Nelsen and Katy Carnaggio, Fearless Performance Ian Zook, Horn on Record
Despite current trends and narratives about recording an album, I still felt the need, perhaps a much-too-romantic idea nowadays, to create an all-around, long-lasting musical statement through which audiences could get a proper idea of me as an artist.
Angelo Nuzzo has served as the International Horn Society Country Representative for Austria since 2020. Born and raised in Italy, he is trained as a biomedical engineer (PhD), a business manager (MBA), and a hornist (MA). His career has developed internationally as a bioinformatician, and he is currently working at the Austrian Research Promotion Agency (FFG) in Vienna.
Every so often, we find ourselves standing at a crossroads, where one chapter of our life converges with the beginning of another. For me, a pivotal moment came when I transitioned from my position as the Associate Principal horn with the Seoul Philharmonic Orchestra to take on the role of director at the Czech Center in Seoul. This move was not just a personal evolution but also mirrored the broader dialogues frequently occurring amongst horn players; it raised questions about longevity, the persistent pursuit of quality, and evolving definitions of success and fulfillment within a musician's career. 
The International Horn Society describes itself as a community of horn players from around the world, with respect and collaboration being core values. The horn studios of which we are members serve as microcosms of this larger community. To gain admission to these programs, we had to audition to demonstrate suitable skills. We compete for awards and scholarships, in performance contests, and for open positions; however, in a horn studio, creating a culture of supporting and cheering for our horn colleagues generates a healthy studio which encourages every member to hone their skills and be well-rounded in all areas of musicianship.
Hello musicians! This month’s Chamber Music Corner features Zdeněk Fibich’s Quintet in D Major, Op. 42. Fibich is known as one of the “big three” Czech composers in the second half of the 19th century, Smetana and Dvořák being the other two. Fibich was born in 1850 in Všebořice, Bohemia. At the age of seven, he began piano lessons with his mother but went on to study music in Prague (1864-65), Leipzig (1865-67), and Mannheim (1869-70). Between 1875 and 1881, Fibich worked as conductor and choirmaster at the Provisional Theatre in Prague in addition to being choirmaster at the Russian Orthodox Church there. Starting in 1881, he focused only on composing and private teaching. His compositional output was mostly opera, with at least seven operas and seven melodramas in his oeuvre; his orchestral works include three symphonies and six symphonic poems; and he composed piano music as well. Fibich died of pneumonia in Prague in 1900.
Samuel Coleridge-Taylor, named after the poet Samuel Taylor Coleridge, was born in London in 1875 during the height of the Victorian Era to parents Daniel Peter Hughes Taylor, a doctor from the African country of Sierra Leone, and Alice Hare Martin, an Englishwoman. It is unlikely that Samuel ever met his father, who returned to Sierra Leone that same year, leaving the future composer to be raised by his mother alone. She was able to provide him with violin lessons from a local instructor from a young age, and in 1890 the musician entered the Royal College of Music in London. His talents were prodigious enough to catch the eye of a silk merchant, Herbert Walters, who would become Coleridge-Taylor’s patron and sponsor, paying for his education.
English version
Si eres joven y estas pensando en que te gustaría tener un trabajo como cornista ( Hornplayer) en una orquesta profesional , debes pensar ya en orientar tu modo y ritmo de formación en esta dirección y con este objetivo.
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