by Ian Zook

Volume 16—Vitaly Buyanovsky 

This month, we will honor Vitaly Buyanovsky, a prolific performer, teacher, and composer who famously exemplified the characteristics of the Russian school of sound and interpretation. Buyanovsky recorded several albums, many of which have been compiled into a collected multi-volume set on compact disc released by a Russian label and available only as an import. The pieces we will examine, Beethoven’s Rondino in E-flat Major for Wind Octet and Sextet in E-Flat Major, Op. 71 for two clarinets, two horns, and two bassoons, still remain available only on the 1970 Melodiya vinyl release.

Vitaly Mikhaelovich Buyanovsky (1928-1993) was born in Leningrad (St. Petersburg) and raised in a musical family. His horn studies began with his father Mikhael Nicolaevich Buyanovsky who was principal horn of the Kirov Opera Orchestra and professor of horn at the Rimsky-Korsakov Conservatory. At 18, Vitaly joined his father in the Kirov section and also continued his academic studies, earning a master’s in art criticism and producing a doctoral thesis centered on Tchaikovsky’s scoring for horn in his symphonies and operas. In 1955, Buyanovsky became solo horn of the Leningrad Philharmonic under conductor Yevgeny Mravinsky and was also appointed to the faculty of the Conservatory. Additionally, he taught at the Music High School and maintained his teaching and orchestral performing throughout the next 40 years of his career. 

Hailed as a beacon of Russian artistry, Buyanovsky earned notable accolades, winning the International Reicha Competition in Prague in 1953 and the International Competition in Vienna in 1959. He made numerous recordings for the state-run Melodiya label, resulting in over three dozen interpretations of repertoire, including the Mozart concerti, Britten’s Serenade, numerous chamber works, as well as many of his own compositions. Buyanovsky described the Russian horn tradition as a combination of the Western romantic-classical style and Russian sacred vocal music that is present in the works of the great Russian composers until Shostakovich, and his recordings exemplify this beautiful lyrical merging. 

While many may be familiar with Buyanovsky’s compositions through his Four Improvisations (from Traveling Impressions)—and even moreso through the Espãna movement—he was a prolific composer across a breadth of genres. In summary, he either composed, arranged, or edited over forty-eight works, ranging from solo works for trumpet, trombone, horn, and timpani, to ballet scores, quintets for both brass and woodwinds, and several other chamber configurations. 

The International Horn Society bestowed on Buyanovsky Honorary Membership in 1985. 

Beethoven’s horn chamber works for horn are well-known, principally his Quintet for Piano and Winds in E-Flat, Op. 16, the Sonata for Horn in F and Piano, Op. 17, and the Sextet for Two Horns and String Quartet in E-Flat, Op. 81b. Much less frequently performed are the contents of this recording, the Rondino for Octet and the Wind Sextet, Op. 71. 

While these pieces do not feature the horns to the degree of virtuosity of the Sextet, Op. 81b, the precise ensemble and light timbre of the horns are noteworthy. Buyanovsky is joined by Vladimir Shalyt playing second horn in these chamber selections.

The Rondino begins with the melody in the first horn, harmonized by second bassoon. Curiously, Beethoven places the horns first in score order above the other winds, leading the way formally with this idiomatic opening:

The conclusion of the Rondino also features the horns with an indication to play the echoing calls con sordino. Buyanovsky and Shalyt opt to play shaded dynamics to achieve this effect as timing for a mute change is treacherous unless the senza tempo indication is truly indulged.

Beethoven’s use of the horns in the Sextet, Op. 71 is largely supporting rhythm and harmony, with a few standout moments. At the end of the first movement Allegro, the second horn is treated with an arpeggiated outburst to propel the closing coda:

In the final movement Rondo of the Sextet, Op. 71, the horns provide much of the underpinning dotted eight-sixteenth rhythmic motor. Again, divided triplets between the two horns accelerate the rhythmic rate of the tempo, so Buyanovsky and Shalyt let loose with vigor for a bombastic ending to this charming wind chamber work:

There is a rich trove of recordings and compositions Buyanovsky created to share his singular and characteristic musical craft with us all. Seek them out and be inspired. Thanks for reading Horn on Record!

by Josué E. Jocop Siney, FECOGUA Representative

Dear readers, the purpose of this article is to tell the story of a group of musicians, my colleagues and friends, who have decided not to remain silent as concern—generated as the institutions in charge of promoting music in Guatemala have suffered due to socio-political difficulties—grows. But before introducing our solution, I feel the need to first present some background information to put it in context.

Guatemala is a country located in Central America, long known for being the cradle of the Mayan civilization, for its lakes, volcanoes, mountains, jungles, and rainforests. In addition, Guatemala is a multicultural and multilingual country; four peoples coexist: Maya, Xinca, Garífuna, and Ladino (Mestizo). The nation’s history has had episodes as bloody as both the Conquest and the terrible internal armed conflict that subjugated its greatest treasure, its people, for 36 long years. It is incredible, then, to observe how colorful and artistic the towns in Guatemala are; you can hear the notes of the marimba everywhere, playing the rhythms of sones, danzones, waltzes, and many other genres that live on in the imaginations of Guatemalans. It seems that there are no economic, social, or political obstacles that prevent our people from expressing themselves in this most sincere, creative, and human way.

Guatemala has seen the birth of musicians and composers among whom I will mention: Eulalio Samayoa, one of the first symphonists in the Americas and founder of the Guatemalan Philharmonic Association in 1813; Jesús Castillo, ethnomusicologist, and author of the book La Música Maya Quiché which rescues, classifies, and studies the memories of pre-Hispanic music in Guatemala; and Maestro Joaquín Orellana, composer of contemporary music whose most notable contributions are the creation of his own musical notation system and of his “Sound Tools,” instruments he built, derived from the marimba and other elements.

After having broadly presented Guatemala and its people, I can tell you that the Horn Festival in Guatemala “FECOGUA” was born from the need of musicians of the National Symphony Orchestra and the Marcial Symphonic Band, to create a platform which allows players to connect with each other and with the world to improve all aspects concerning the horn. In this process, collaborative efforts were made with institutions dedicated to teaching, as well as with music lovers, students, and international professors to bring together the largest possible number of instrumentalists in one place, teach classes, and create space for ensembles and concerts in which everyone may participate.

In 2018, the first Horn Festival was held, thanks to the support of the Spanish teacher Samuel Pérez. This was our first attempt to organize an activity of this nature. Teamwork with well-defined roles helped us realize that we could have a positive impact on and contribute to the comprehensive development of new generations of horn players in the country. The second Festival welcomed Mexican teachers as guests: Ernesto Miramontes and Esmeralda Pazos, both academics from the Universidad Veracruzana. This was very motivating for the participants because it broke, in some ways, with the model of the teacher as a being who knows everything, who makes no mistakes, and who remains distant. On the contrary, the teacher's role was that of a friend who makes it easier for you to get to know him or her and gives you tools to work on bettering yourself.

Against all odds, the year 2020 was very productive for our organization, despite the fact that the world faced the covid pandemic. Over the course of three months, 18 conferences were held with teachers such as Lucca Benucci (ITA), Keith Eitzen (USA), Edward Brown (USA), Luis Murillo (CR), João Gaspar (PORT), and Joel Arias (VEN), among others. It was very useful to have contact with so many professors, to learn their life stories, including the adversities they faced throughout their careers, and to receive valuable information in their masterclasses.

In 2023, the Festival was held with Joel Arias, representative of the region for the International Horn Society. Maestro Arias is an important figure for our festival since he has a lot of experience in pedagogy and interpretation. In 2023, the first student performance competition was held, and the winner performed Mozart's Concerto No. 3 with orchestra, the first time such an event was held in our country.

The primary purpose of this organization is to provide participants with the opportunity to attend masterclasses where they can receive the guidance needed to master the instrument, develop interpretation, and perform a piece accompanied by a pianist or an orchestra. This process offers a total of 30 hours of study which includes warm-ups, individual and group lessons, conferences, recitals, and collegiality. It should be noted that the Horn Festival in Guatemala is a non-profit organization and that all activities are carried out through negotiations with government institutions, donations from altruistic people, and now also with the support of the IHS.

by Katy Carnaggio

Here’s Why Developing Expertise Is So Hard (and how to enjoy it more)

When we work to improve our skills, we’re trying to transform something that requires conscious effort into something we can do easily and automatically. Think about riding a bike: at first, you wobbled and focused on every little movement. Now, you just hop on and go!

But here’s the kicker: expertise isn’t about finding and sustaining ease. It requires continuous and systematic effort to stretch your comfort zone further and further. Expertise involves the aspiration to improve and is thus resistant to automaticity. If you settle in that place of hard-fought ease for too long, research indicates that your skills can start to slip.

The Common Sidequest: How to Stay Focused

Many people hit a satisfactory level of quality and automaticity and then get stuck. They find it hard to stay focused because the skill no longer requires much mental engagement. But zoning out leads to mistakes, skill deterioration, and even anxiety. So, what’s the middle ground?

Seek The Extra Mile

Expert performers develop increasingly complex mental representations to attain higher levels of control and awareness. It’s like increasing the power on a microscope because you're curious to see a more complete picture—finer details, nuance, and relationships.

When we are curious, focus comes naturally. It's not difficult to get lost in a good book or show—you’re eager to find out what happens next. That same curiosity can continually add clarity to your ideas, refine your skills, and help you avoid the traps of overthinking or mindlessness.

So if you’re struggling with focus or feel stuck on a plateau, try training your curiosity instead. There are, in skilled action, several levels of bodily consciousness that cannot all be reduced to deliberate thinking or reflection. Yet, curiosity evokes wonder, receptiveness, allowance, and awareness. It opens us up to the kinesthetic logic of our bodies, allowing more effective exploration than verbal direction.

How to Practice Total Absorption in Music

Try this the next time you listen to your favorite hornist perform:

First, take a moment to settle your thoughts. Then, as you listen to the music unfold, vividly imagine that you are creating the sounds you hear. Consider: “If I were to play like that, how would I? and how would it feel?” Notice how your body naturally adjusts in subtle ways from head to toe. You might notice differences compared to your habitual approach, as certain places become supple, responsive or open and others engage to stabilize and support. Consider the breath, sensing where it originates and how it energizes, fills, and rests.

Then, listen beyond kinesthetics to horn sounds. Turn that aural microscope up to a higher power and challenge yourself to find more details about which to be curious. What is happening during the fronts, middles, and ends of notes? What shapes, vowels, colors, contrasts, connections, emotions, and silences do you hear?

Listen beyond the horn to everything in and around the piece: texture, interaction, other voices, balance, twists, and synergy. Strive to hear the composer’s presence; ask, “Why did they choose that note over another?”

Your curiosity will naturally lead you to more questions that will expand your abilities and genuinely interest you. However, it may take a few tries to find it. Listening is a fantastic way to practice without the added complexity of the instrument.

Hone Your Edge Daily

Expert performance is more than just creating inspiring sounds with purpose and precision; it's about demanding more of yourself day in and day out. Expertise thrives on humility and a willingness to be amazed by something you've known for so long. Even on days when you're not feeling it, commit to searching for that spark of intrigue. Go deeper instead of mindlessly executing. Allow curiosity to lead you beyond "pretty good," beyond anxiety, beyond boredom, into skills that stretch and fascinate you!

by Inman Hebert

As we prepare to begin a new academic year, I surveyed five horn professors about what they wished their students would know coming into college and asked for some general suggestions as students prepare for a major in music.

Dr. Jennifer Ratchford Sholtis, Professor of Horn, Texas A&M University-Kingsville, described the expectations a “fresh-faced freshman” would ideally bring with them to “tackle both the horn and academic worlds.”

“On the horn front, they've got a clear tonal concept, can breeze through major scales, their range hits a solid F2 all the way up to a C6, and their natural horn lip slurs flow like a river.

But it's not just about the music. To succeed at college life, they manage their time well, sticking to set schedules. They are fueled by their own ambition, never backing down from a challenge, and they have high standards when it comes to schoolwork. Plus, they have an insatiable curiosity, always wanting to dive deeper into whatever crosses their paths.

That's the dream combo for a freshman ready to take on both the horn and the college world.”

Bernhard Scully concurs in the need for “time management skills, general musicianship skills—including improvisational and compositional skills, writing skills, and interdisciplinary skills.”

Other professors reflected on exposure to musical concepts. Johanna Lundy, observes that “many high school students don’t have experience reading in bass clef or working with transposition.” She recommends starting “on both early for an easier transition to college.”

Desiring students to be ready with a “good background of major scales beyond the standard patterns” and an understanding of “basic [music] theory knowledge and vocabulary” underpinned the comments from Lanette López Compton. She also believes that “knowledge of repertoire from orchestral to solo, because it’s so accessible, would show genuine curiosity in a student.”

Dr. Martin D. King emphasized the word musicianship. “Basic musicianship is more important to me than specific skills on the horn. Being able to sight-read, play scales and arpeggios, and ensemble skills set students up for success. The specific horn skills and techniques are so much easier to teach if students are strong musicians.”

When asked about their suggestions for students, many thoughts centered around managing time. Johanna Lundy emphasizes this skill:

“Time management is another challenge for students transitioning into college. You think that you will have lots of free time! But it’s really just more unstructured time—if you spend it doing your assignments, you’ll be fine! If not, things will pile up quickly as the semester goes on. Start by creating a regular practice schedule and enter the times into your calendar. It’s easier to get the work done when it is visible in your schedule.”

Bernhard Scully asserts, “Music is a practiced art, and it is important to establish a consistent routine for practice.”

“Students need to embrace [a] ‘pay now, play later’ mindset. That means hitting the books and the practice room before chillin' with your buddies, diving into your favorite video game, or burrowing into your bed for a nap!” Dr. Jennifer Ratchford Sholtis

Some comments centered on the demands of college. “I know a lot of students who were surprised by how challenging music theory and piano proficiency classes could be. Any time you can put into these subjects before college will make things easier for you! For those already in college, don’t be afraid to ask for help if you don’t understand a theory concept. Bonus: taking piano lessons will help you learn about and better understand music theory.” Johanna Lundy

Others articulated the need for students to press beyond the familiar. “Read something that is new every day. Sight-reading should just be every-day reading of music. Always play something you are good at and love to play…but most of each session should be working on something new and not exactly comfortable. Spend time working on parts of playing that need attention, especially if you have the tools to do it.” Lanette López Compton

“A little nugget of wisdom: if something scares you, that's probably the exact thing you need to tackle head-on. It's all about pushing past those comfort zones.” Dr. Jennifer Ratchford Sholtis

The responses also included a helpful reminder to stay focused on our goals. “Plaster your goals all over your room. Make them impossible to ignore when you roll out of bed in the morning. Then, break them into smaller mini-goals that'll keep you on track to achieving those big dreams.” Dr. Jennifer Ratchford Sholtis

While focusing on goals, others prompted students to remember the importance of the journey. “Listen to lots of music, play in every possible different type of ensemble. Also, be patient. Learning to play the horn will take a lot of time. Students should focus more on practicing the right things every day and trust that the results will come in time.” Dr. Martin D. King

“School is a place where one can gain a broad perspective on music and begin to explore in many areas. My suggestion is to practice your horn as much as you are reasonably able to…get your playing fundamentals under control and get as broad an understanding of music as possible, ideally combining with a double major or as much comprehensive schooling and cross-discipline as possible to prepare oneself for the rapidly evolving landscape of the 21st century.” Bernhard Scully

Acknowledgments

Dr. Martin D. King, Assistant Professor of Horn, Washington State University
Lanette López Compton, Professor of Horn, Oklahoma State University
Johanna Lundy, Associate Professor of Horn, The University of Arizona
Dr. Jennifer Ratchford Sholtis, Professor of Horn, Texas A&M University-Kingsville
Bernhard David Scully, Horn Soloist, Artistic Director of Cormont Music and the Kendall Betts Horn Camp, Associate Professor at University of Illinois at Urbana-Champaign, former horn of Canadian Brass

Those attending this year’s IHS 56-Horns on the Horizon Symposium in Ft. Collins, Colorado, USA, are invited to the program The International Horn Society Composition Contest, Decades of New Music for Hornists: A Heritage of New Music for the Horn.

Hornists Allison DeMeulle, Bernardo Silva, Emma Brown, James Boldin, Jennifer Sholtis, Johanna Lundy, Ken Pope, Lisa Bontrager, Lucca Zambonini, Michelle Stebleton, Monica Martinez, Peter Luff, Radegundis Feitosa, Randy Gardner, Richard Todd, and Andrew Pelletier will perform outstanding compositions from the Heritage of the Composition Contest, including the following works:

(2016) The Final Battle Cry for Solo Horn, by Alexis Carrier
(1985) Four Bagatelles for Horn and Piano, by Michael Jacques
(1999) Night Song for Horn and Piano, by Andrew Boysen
(2020) Legacy: Concerto for Horn, by Aaron Jay Kernis
(1982) Suite for Eight Horns, by Gordon Ring
(1981) Sextuor-Mars 1981, by Charles Deschamps
(1979) Horn Player’s Retreat and Pumping Song, by David Stanhope

The very first International Horn Society Composition Contest took place in 1979 with Dr. Gayle Chesebro as the Coordinator. In the announcement of the first contest, the composer and then-President Douglas Hill defined the purposes of the Composition Project in the following three points:

1. to provide new and successful repertoire for all levels of the horn playing/teaching community;
2. to encourage emerging composers to feature the horn, with all of its versatility, in new works; and
3. to encourage all horn players and horn teachers to investigate and perform new repertoire.

Since the very first contest in 1979, 27 Composition Contests have been held, hundreds of compositions for the horn have been submitted, and many of these have been featured in performances at Symposia as well as at other venues and on recordings. 

Since the 2014 Composition Contest, there have been two different divisions: the Featured Division and the Virtuoso Division. 

In the Featured Division, the difficulty level of the compositions is moderate. Featured Division compositions must be playable by the entire spectrum of IHS members (student, amateurs, professionals). Works in this division should have musical content that would have the integrity to honor the professional hornists, yet within the pitch and technical range of the panorama of student and amateur players. 

In the Virtuoso Division, there is no difficulty limitation.

The instrumentation of works for these divisions rotates with each contest.

For the 2024 Contest, the instrumentation of the Divisions is as follows:

FEATURED DIVISION:

• Compositions for Solo Horn (alone/unaccompanied)

VIRTUOSO DIVISION:

• Compositions for Solo Horn with Vocal Ensemble
• Compositions for Horn Ensemble (two or more players, all horns)
• Compositions for solo horn and keyboard instrument. (Keyboard instruments may include piano, harpsichord, organ, electronic keyboard, or mallet percussion.)
• Compositions featuring Horn with chamber ensemble of three or more players (one horn part only) (The chamber ensemble may include any combination of electronic instruments, acoustic instruments and/or voices. Electronic instruments may be live or pre-recorded. Acoustic instruments may include Wagner Tuben.)
• Compositions featuring Solo Horn featured with large ensemble. (The large ensemble may include any group of electronic, acoustic instruments and/or voices. Electronic instruments may be live or pre-recorded. Acoustic instruments may include Wagner Tuben.)

In the Composition Contest, a composer submits a composition of appropriate instrumentation according to the following application rules.

I. Application Rules include/require the following:

1. Scores in PDF Format. Personal name must be removed from the score.
2. MP3 recordings of the composition. Personal information (such as embedded composer's name) should be removed from the file. Maximum size is 30MB. Hornists are encouraged to collaborate with composers in making the best possible recording of the composition to be submitted. Although electronically generated sound files may be submitted, collaboration between living hornists and living composers is encouraged.
3. A brief description of the work in MS-Word.doc format.
4. An on-line application, which will include the name of composition, entered as well as contact information of the composer (full name, address, phone number and email address).
   • Composer's name and address must not appear on the scores, recording file or description file. All works are assigned a number to guarantee anonymity during judging.
   • Entry fee of $25.00 U.S.D. for each composition must be paid at the time of submission via the Horn Society website.
   • Entries must be received no later than December 1, 2024. Incomplete entries or entries submitted in an incorrect format will not be considered.
   • No more than one composition per division per composer is allowed.
   • Works submitted must have been composed during the past four years, and any composition that has received support from the International Horn Society Meir Rimon Commissioning Assistance Fund is not eligible. Also ineligible are Officers and Staff of the International Horn Society—as well as the most recent winners of the Composition Contest.

II. Files will not be returned and will become the property of the International Horn Society. Intellectual rights remain the property of the composer.

III. The panel of judges may withhold the awards if the works submitted are deemed unqualified to receive such distinction. Judges may assign Honorable Mention status to compositions not selected for a monetary award.

IV. Contestants may expect to receive the results of the contest by February 15, 2025. Results of the contest, including a description of the winning compositions and composers' biographies will appear in an issue of The Horn Call, the journal of the International Horn Society (circulation: over 3,000 members from 55 countries).

V. The winner of each division will receive a prize of $1250.00 U.S.D. The winning compositions will be performed or featured, if possible, at an International Horn Society Workshop. The winning composers will have the option of having the work published by the IHS Online Music Sales.

VI. Entrance into this competition constitutes acceptance of Application Rules.

The application portal may be found at:

https://www.hornsociety.org/about-the-ihs/composition-projects/composition-contest

by Marty Schlenker

Dear Fellow Amateurs,

Recently, I wrote that I bought a horn, a one-owner 700,000-series Conn 8D from the mid-1950s. The owner was Jim Tyson, a lifelong music teacher in central Pennsylvania, who taught my wife and her two brothers 40-50 years ago. 

I had been motivated to add an Elkhart 8D or similar horn to my roster ever since I borrowed a friend’s excellent Hoyer Kruspe copy years ago. In my circle of community bands, Holton and 8D players are the majority. It would be helpful for timbre matching if I had a large bore nickel horn too. Finally, opportunity and motivation intersected. 

Overall, I was pleased. The price was fair. The valves and corpus are in fine shape. The bell needs a little straightening. I was able to achieve the classic 8D mellowness, and there were no bad notes. But the 8D is far less centered than my 28D or, as I recall, my friend’s Hoyer. Lip slurs, especially at first, were frustratingly random, and overall, the 8D seemed to require a lot more effort. To use a baseball analogy, it seemed like swinging a bat with a weight on it. So, I use the 8D when I’m in sections where that timbre prevails.

In early July, I hit the road with the 28D. Every year, the First Coast Wind Symphony of Jacksonville, FL, takes a tour, and partners up with a community band for a joint concert in its chosen destination. Even though I don’t live in Florida and am not a FCWS member, I get invited by my wife’s brother who organizes the tours. This year, FCWS was hosted by the Burlington Concert Band of Burlington, VT which has been in near-continuous operation since 1851. The combined band played July 3 in Burlington’s Battery Park Music Shell, with beautiful weather and one of the best fireworks displays I can remember. Here are a few highlight photos:

Battery Park, with Lake Champlain and the Adirondacks in the background, and the 28D

Four family members: brothers-in-law Larry and Alan, my wife Lucy, and me

The combined section: Benny (Burlington), Ann (First Coast), Noah (Burlington), Bobbie (First Coast), Marcela (Burlington), and me (Have-horn-will-travel)

As patriotic programs sometimes do, this concert got LOUD, and Marcela is a very strong player. It was all I could do to keep up with her to balance 4th horn to her 3rd. Two days later, I noticed that my whole rib cage ached. But guess what? I don’t mind playing the 8D one bit now. All I needed was a real workout.

Please write with your how-I-stay-in-shape stories, where-my-horn-has-been stories, or anything else from your amateur horn world! marty.schlenker@cavaliers.org.

Your servant and kindred spirit,
Marty Schlenker, Amateur Hornist

by Layne Anspach

Hello musicians!

Ernő Dohnányi (1877-1960) was a Hungarian pianist, conductor, teacher, and composer. He was born in Pozsony, now Bratislava, where he was musically trained by the cathedral organist and his father. He finished his formal training in piano and composition at the Budapest Academy. Dohnányi quickly achieved recognition for his skills as a pianist, cementing himself as both a soloist and composer in Europe and the USA by 1900. This acclaim led to positions at the Hochschule in Berlin and the Budapest Academy. While at the Budapest Academy, he taught piano and composition, eventually becoming the director. Through the difficulties surrounding World War II, he eventually found his way to Florida State University as composer-in-residence from 1949 until his death. 

While bedridden with thrombosis for a few months, Dohnányi wrote the Sextet for Piano, Clarinet, Horn, Violin, Viola, and Cello, Op. 37, which was his final chamber work. The first movement, Allegro appassionato, begins with piano and cello providing the foundation for the opening. The other voices interject with the horn leading the first statement. While itself not overly bright, the opening theme is countered by a dark second statement in unison strings and piano. The piano cascades downward into another character, and all this occurs within the first minute. The entire movement can be described as tempestuous with only hints of calm and tranquility; the twists and turns warrant a close listen.

The second movement, Intermezzo, adagio, begins with a tranquil scene set by strings and piano. The serenity is broken with the introduction of a march, led by the piano. The tranquility of the opening returns, this time including the winds. The movement ends with the tranquil theme and a short interruption by the march. The third movement, Allegro con sentimento, features a loose set of variations. The clarinet presents the melody with string accompaniment. There is a definitive change at the Presto which emulates a scherzo. A lush section, Meno mosso, follows with all voices. Prior to the end of the movement, the horn presents the theme from the first movement, setting up an attacca into the final movement.

The final movement, Allegro vivace, giocoso, starts with a light theme in the piano, which is passed to the clarinet. The ensemble descends into a haphazard waltz seemingly by accident. After a few attempts to break away from the waltz, the ensemble finds its way back to the initial theme. Then, the theme from the first movement finds its way back as the movement comes to a victorious conclusion.

The reference recording features hornist Alec Frank-Gemmill.

Ein Waldhorn Lustig

"le corniste en vacances"
Florian Dzierla

by Caiti Beth McKinney

Hi everyone!

In honor of the 56th International Horn Symposium, I wanted to write about a composer I adore—and, coincidentally, whose music I will be performing at IHS 56—Barbara York. While perhaps known more as a proponent of low brass chamber music, her works for horn are both challenging and rewarding.

Born in Canada in 1949, York studied both cello and piano as a child, demonstrating such skill and dedication that she began her bachelor’s degree at McGill University at age 16 and graduated by the age of 20. Barbara spent early periods of her career working in musical theater, elementary music education, and, perhaps most importantly, collaborative piano. Upon accompanying a tuba player, Michael Fischer, at his recital at Pittsburg State University, York was inspired by the dulcet tones of solo tuba playing and requested to write a piece for Fischer; thus began a long and fruitful career of over forty works for tuba or euphonium.

One of my favorites among York’s works is her trio for horn (or euphonium), tuba, and piano entitled Dancing with Myself, which the composer describes as a bit of “Bohemian Barbara,” reminding herself of her youthful days in Montréal. Clearly inspired by dance styles including jazz, tango, and polka, the piece interweaves all three instruments to great effect, creating a conversation between the performers, while also being deeply introspective and personal. Barbara spoke about the piece in an interview, discussing her thoughts on the work and its reflection of a past relationship, stating, “…then I realized that he didn’t want to have a discussion with me. He wanted to instruct me. I was trying to talk to him, but he wasn’t talking back. I was just really talking to myself, which was interesting…. There was no two-way communication going on. He wasn’t having any kind of discussion. When I did the story about going home at night by myself dancing because I wasn’t dancing with myself, I also thought about the fact that when you’re young, you’re so concerned with finding who you are and your own self-image. Figuring out who you are.”

York also composed several brass quintets, a suite for horn, euphonium, and piano, and an outstanding sonata for horn which is well worth a listen. Wishing everyone a fabulous August—and thank you for reading the Horn and More Composer Spotlight!

The annual general meeting of International Horn Society membership was held on Wednesday, July 31, at IHS 56 in Fort Collins, Colorado, USA. Officers and Advisory Council members for the next year were announced at the meeting and are as follows:

Officers:

President: Peter Luff, Brisbane, Queensland, Australia
Vice-President: J. Bernardo Silva, Porto, Portugal
Secretary: Monica Martinez, Edinburg, Texas, USA
Treasurer: Jennifer Sholtis, Kingsville, Texas, USA

IHS Advisory Council:

Lisa Bontrager, Emeritus Distinguished Professor, Pennsylvania State University
Emma Brown, Graduate Student, Chicago College of Performing Arts
Randy Gardner, Cincinnati Conservatory, retired
Tommi Hyytinen, Finnish Radio Symphony Orchestra, Sibelius Academy of the University of the Arts, Helsinki
Gabriella Ibarra, Latino America Horns, Horn and More
Marilyn Bone Kloss, Assistant Editor of The Horn Call
Ben Lieser, University of Central Florida
Peter Luff, Queensland Conservatorium Griffith University, Queensland Symphony Orchestra
Monica C. Martinez, University of Texas-Rio Grande Valley
Ken Pope, Pope Instrument Repair
Jeff Scott, Oberlin Conservatory
Jennifer Ratchford Sholtis, Texas A&M University-Kingsville
J. Bernardo Silva, Orquestra Sinfónica do Porto Casa da Música, Universidade de Aveiro, Portugal
Richard Todd, University of Miami, Los Angeles Studio Musician
Margaret Tung, University of Cincinnati College-Conservatory of Music
Lucca Zambonini, Orquestra Sinfônica Municipal de Campinas, Brazil