by Ken Bell

Ken Bell

My friend, George McCracken, left us all in early 2024. He left a tremendous legacy of horn design and creation, and a wealth of knowledge about repair, music, and acoustics.

He had several fine apprentices and protégés, one of which, Douglas Hall, has bought George’s business and will carry on the name McCracken Horns from his new shop in San Diego.

This will be a personal reminiscence of my moments with George.

I first met him on a trip to the King factory in Eastlake, Ohio. At the time, he was chief design engineer for brass instruments at King. George had worked with acoustician Arthur Benade to develop the famous “Eroica” bell. This was the late 70s and, on the advice of a fellow classmate from the Eastman School of Music, Brian Drake (retired, Los Angeles Philharmonic), I went to try George’s newly designed “Fidelio” model. He met me at the factory, gave me a tour and a selection of the new horns to try. The horn I settled on was perfect for my needs at the time, and I won my first 2 jobs on this instrument. George was friendly, gregarious and down-to-earth from our first meeting.

George McCracken

I met George again a few years later in his horn shop in Barhamsville, Virginia. My wife and I traveled to meet him to put a patch on an old Kruspe that I had acquired. The patch was practical yet elegant. He took plenty of time, showed us some new designs, chatted about his work on historical instruments and Williamsburg, and introduced me to A Prairie Home Companion, Garrison Keillor’s famous radio show.

About 15 years ago, I was reacquainted with George by our mutual friend, Doug Hall, who made twice-yearly trips from San Diego to help George in his new shop in West Point, Virginia. I had started doing instrument repair in Baltimore around this time, so I truly looked forward to my frequent trips to visit and learn. George was extremely knowledgeable, clever, and a quiet genius in my opinion. He loved the art of fine-tuning and improving an instrument. By his own admission, he preferred coming up with new solutions rather than assembly-line production. This explains why there are so many different McCracken horns. (Exceptions are the model 7 and the triple which were made multiple times). No matter how crazy some of them looked, everyone that I have played was superb. He built one of the finest “Geyer” wrap horns that I have ever played—but only one. There was little guess work; he knew what he was doing.

George attempted to help me in person or over the phone with any horn questions I had. I was able to incorporate many of his suggestions, even quick remarks, into my own business. Early on, George explained to me his bell cutting method. I have used his step-by-step advice for years, and never had a bad cut. If George couldn’t get done what he wanted to do, he would spend hours designing and making jigs and tools that would get the job done. A few years ago, I gave him an old King Kruspe model that had seen better days. Just for fun, he completely redesigned the horn with a new convertible leadpipe, cut bell, new trigger geometry, and redesigned third B-flat slide. He loved his work, and he helped me feel the same passion for mine.

Aside from horn making, there was much more to him. George was the choir director for many years at St. John’s Episcopal Church across the street from his home in West Point. He loved vocal music, and like his spouse, was an expert at it. I enjoyed playing at his church occasionally, along with several of his friends from the area. He was kind, thoughtful, and welcoming to visitors (like my wife and me), and devoted to his family members.

Two favorite memories: going to lunch at one of his favorite lunch spots. “Hot tea in a travel cup, please.” All of the waitresses knew and liked him. This is where he would tell stories of his youth in North Carolina…or the time when he was late for his ship in the Navy and ran to the ship, climbed the cargo net, and started playing with the band, the tardiness unnoticed by his superiors.

The last few years, as he slowed down a bit, George would enjoy talking with my wife and me in the shop about all sorts of things, but particularly music. George was a voracious listener of European classical radio broadcasts and streaming orchestral and opera broadcasts. He could share for hours what he discovered. One afternoon when he was too tired to work, we sat as he explained the fundamentals of acoustics for about 2 hours. I felt as if I had just taken an advanced college class, and most of it was over my head.

I will miss the visits and the answers to my horn questions, but mostly the friendly hello from George every time he answered the phone.

Ken Bell is a long-time professional hornist in the Baltimore/Washington D.C. area and has himself been in instrument repair for about 15 years.

by Monica Martinez

Hello! I am Monica Martinez, and I am the new Secretary on the Executive Council of the International Horn Society. I am from Brownsville in the Rio Grande Valley in the far south of Texas. I completed my undergraduate studies at Texas A&M University at Kingsville and my graduate studies at the University of Texas at Austin.

I am currently Assistant Professor at the University of Texas—Rio Grande Valley, and I am an active, passionate educator and freelance musician. I recently did an interview with James Boldin for The Horn Call Podcast, Episode 49. Fun fact: I have my degrees in both Music Education and Horn Performance, which is perfect for me because I’ve had the opportunity to be able to focus on various levels in both fields. I also get opportunities to travel and perform, a balance that I had always wanted and needed in my life. I am always appreciative of every opportunity that comes my way, and I love the chance to network and meet new people and perform in different types of ensembles. I always look forward to attending as many local, regional, national, and international events that I can each year. 

I am grateful to the IHS Advisory Council and the Horn community for the ability to continue in this new role. I will continue to provide a service that is aimed at growth, stability, diversity, and inclusivity.

If you would like to know more about me, feel free to search any of the links below:

The Horn Call Podcast, Episode 49: Monica Martinez
https://www.podbean.com/ew/pb-mgx8b-1623476

UTRGV Horn Studio Instagram
https://www.instagram.com/utrgvhornstudio

UTRGV School of Music
https://www.utrgv.edu/music/people/faculty

Chromatic Brass Collective
https://www.chromaticbrass.org/monica-martinez

International Horn Society, Advisory Council
https://www.hornsociety.org/ihs-people/a-c

by Ian Zook 

Volume 17 celebrates a recording made for the 100th year of the Wiener Waldhornverein. The “WWV” is the oldest continually operating horn club dedicated to preserving the sound and style of the Vienna Horn. The “Jahre 100” album was recorded in 1983 to commemorate their centennial anniversary, and it includes twenty-seven players performing music spanning the history of their ensemble.

The history of the Wiener Waldhornverein begins in 1879 with Josef Schantl, solo horn of the Imperial and Royal Court Opera in Vienna, who organized a quartet of horns to perform for the parade commemorating the 25th wedding anniversary of Emperor Franz Joseph I and his wife Elisabeth. Schantl, inspired by the success of the quartets he had composed for the occasion, founded the “First Viennese Horn Club” in 1883. Very notably among the founding members was Johannes Brahms—a great advocate for the Austrian hunting music promoted by the ensemble.

Throughout the history of the WWV, members of all the professional orchestras in Vienna as well as amateurs joined together to preserve the sound and style of the Vienna horn. They were featured at the 1st International Brass Congress, held in Montreux, Switzerland, in 1976, and have also established a publishing company to promote their vast collection of horn ensemble music.

The Vienna horn, or Wiener Pumpenhorn, has been in constant use by the Vienna Philharmonic Orchestra since 1870. These horns are three valve single-F horns designed essentially as a 19th Century Inventionshorns with double-piston valves, a design that uses a clock-spring casing that was patented by Leopold Uhlmann in 1830. The Vienna horn uses a terminal crook, and while mostly played in F, they can also be crooked in E, E♭, G, A, and B♭ alto. The distinct sound of these instruments is found in elegant legato and portamento, golden-hued tone, deeper resonance in articulation, and the captivating energy produced in the upper extremes of dynamics and range.

This Wiener Waldhornverein “Jahre 100” recording was produced in 1983 during a horn symposium in the Vienna Konzerthaus under the direction of Siegfried Schwarzl of the Vienna State Opera. The varied selections showcase many of the composers and iconic pieces that define and preserve the Vienna horn traditions.

The Hungarian Fanfare was among the pieces composed and performed by Josef Schantl for the 1883 parade. In this recording, the WWV uses E♭ parforce horns to reflect on the hunting associations of this music:

Karl Stiegler, solo horn of the Vienna Philharmonic from 1906-1932, contributed a large amount of horn ensemble music to the WWV. His piece, O Dirndl tief drunt im Tal, is a wonderfully expressive setting of this traditional Austrian folksong: 

A brief Study in Jazz after Irving Berlin, by Dieter Angerer, features Margo Totzauer in a short solo as the WWV interprets this tune from the Great American Songbook:

Helmuth Foschauer’s Mauerbacher Festmusik was written for the 650th anniversary of the Maeurbach Charterhouse, a Baroque monastic complex 20 km outside of Vienna. This grand fanfare resonates with the rich sound and searing high range of the Wiener Waldhornverein: 

I hope you have enjoyed learning more about the unique and lasting tradition of the Wiener Waldhornverein. Thank you for reading Horn on Record!

by Katy Carnaggio

Socrates once said, "The greatest way to live with honor in this world is to be what we pretend to be." This quote captures the essence of integrity—aligning your actions with your intentions. In music, as in life, this alignment is achieved through honesty, particularly in the way we assess and refine our skills. Honest feedback [as self-assessment] is the bridge between who we are now and who we aspire to be. It’s the tool that allows us to transform our intentions into real-world actions, living up to the ideal we set for ourselves as musicians.

While “giving feedback” doesn’t typically fit into the flashy category of mental training like meditation, emotional intelligence, or discipline, its results are certainly worth the effort. Quality self-assessment is the difference between, “I’m rushing,” and, “I’m rushing because I’m compressing each second set of sixteenths. I need to play them evenly, about five clicks slower to match the tempo.” This level of detail allows you to know what happened, why it happened, and what you need to do next.

Great Feedback = Great Data + Great Deduction + Great Delivery

Data
Accurate self-assessment is like having a precise map to your goals. To navigate effectively, you need two types of data:

1. Knowledge of Performance: Your internal sense of the movement, like the feel of playing the horn.
2. Knowledge of Results: External data on how well your actions matched your intentions, such as, “That note was 20 cents flat.”

We’ve all experienced how our feelings can cloud our judgment. So, how can you ensure your observations are reliable while playing? Adams’s Closed-Loop Theory suggests that you perform by comparing ongoing movements to an internal “perceptual trace” developed through practice. This perceptual trace serves as a reference of correctness. By minimizing the difference between current sensations and your internal reference of correctness, you can execute skills accurately without external feedback.

However, your reference is only as accurate as your practice. If you’ve learned a technique differently from how you now wish to perform, your body might signal that a movement is correct simply because it aligns with your perceptual trace, even if external feedback suggests otherwise. To minimize uncertainty, establish accurate references early and often—away from the horn—through physical stretches, breathing exercises, mental rehearsal, or singing along with a reliable recording.

To further ensure that you’re working with great data, augment your internal feedback with external tools. Regularly using a recording device, a metronome, a tuner, or even a decibel meter provides reliable, objective information, helping you avoid the common pitfalls like bias or inconsistent practice environments that might otherwise influence your senses.

Deduction
Improving the content of your self-assessments requires ongoing task deduction—breaking down the complexity of performance into easily comprehensible and precise movements—and working through them in a systematic, logical progression. For instance, Frank Lloyd’s video on multiple tonguing offers a detailed task deduction breakdown that can make even challenging techniques more approachable.

Work on refining your ability to give only the most pertinent info, distilled into succinct and detailed form. Consider your in-the-moment execution, mood, and motivation. Encourage change and reinforce accurate learning with informational feedback focused on descriptions or prescriptions. Encourage energy, direction, and resilience with motivational feedback focused on acknowledging improvements or progress towards your intention. Balancing these two types of feedback creates a holistic approach that supports both technical growth and emotional resilience.

Delivery
The way you deliver feedback is as important as the feedback itself. Sometimes, how you say something can be just as impactful as what you say. Before giving feedback, shift your mindset from an internal focus on execution to external self-coaching. Approach feedback with grace, humor, self-trust, calm, and confidence. This positive approach not only makes feedback more effective but also more enjoyable, fostering self-trust and competence through consistent action.

Feedback is the tool that bridges the gap between who you are and who you aspire to be. It’s the gift that turns good into great and great into exceptional. Ultimately, feedback is the quiet, powerful force that shapes mastery, guiding you forward, one insight at a time.

by Inman Hebert

The task of preparing for college auditions can seem daunting to any student. These auditions hold the power to alter a student’s immediate and long-term futures. Regardless of the stakes, taking a calculated approach makes the audition process more manageable.

Start early. That simple phrase can save immense hassle. At the beginning of September, students should already have a list of schools and an idea of what to play for each audition. For students not yet decided, see the Horn and More student column Deciding Where to Audition for College, published September 2023. Students who still need to finalize their audition material should review the institution’s requirements and follow the listed guidelines, which often require contrasting selections. Creating a chart will highlight potential overlap to narrow audition lists and focus preparation. Choose music that showcases your current strengths as a musician and stretches your potential but does not exceed your ability to polish each selection. With these ideas in mind, students have four to five months to prepare their lists fully.

The first part of college audition preparation involves working up each piece's basic notes and rhythms. As simple as it sounds, many students go into auditions rhythmically imprecise. Practicing with a metronome is paramount to rhythmic accuracy during the audition. The tempo of every audition piece needs to be checked metronomically on a near-daily basis to ensure that poor rhythmic habits never emerge. Slowing down the music can help students work on technical accuracy. Students can significantly improve their precision by practicing correctly at slower tempos and gradually increasing the tempo as capable. Paying careful attention to rhythmic and technical details of pieces creates a solid foundation on which to build.

Audition preparation requires dedication, consistency, and thoughtful practice. Attention to detail from the beginning will prevent mindless, repeated playing of the same music without improvement. Record and listen to yourself. Is the sound solid? Is the music in tune? Are the breaths being incorporated as marked? Break apart the different components of the music and put it together step by step.

When feeling overwhelmed, a student may be tempted to neglect fundamentals; however, some challenges in repertoire preparation may occur due to gaps in ability. For example, a student with struggles in the high range should address this issue daily with high-range exercises. Trying repeatedly to hit high B-flats in a Mozart concerto will be useless if the note is not achievable in fundamental sessions. The same concept applies to articulation, stopped horn, low horn, and many other fundamental areas of horn playing.

Another major challenge of college auditions can be knowing how to divide practice time to prepare all music to the same standard. Many professors recommend dividing pieces into three categories grouped by proficiency. In a week, most preparation time should be spent on the weakest of the three categories, with progressively less time on the more prepared categories. At the end of the week, reevaluate preparation levels and regroup the music. Then, “rinse and repeat.”

After a certain level of technical preparation, focus on musicality. College audition repertoire can generally be divided into three major categories: etudes, solo repertoire, and excerpts. Each category holds its musical challenges which require different styles of preparation.

Etude preparation is often seen as a battle for technical accuracy. However, even the most straightforward Kopprasch etude contains musical phrases that can be brought out. Preparing technical etudes as lyrical pieces brings out their musicality and makes the piece's technical challenges seem less daunting. Rather than focusing on each note of the piece, focus on creating longer musical phrases; this actually assists overall accuracy.

For solo repertoire, listen to recordings to understand their musicality. Listening to performers’ musical interpretations can help shape the way you perform. In practice, after having reasonable technical control over the repertoire, work on the phrasing of the music. Create broad musical phrases which convey your musical self in performance.

Most orchestral excerpts, on the other hand, offer less musical freedom. Orchestral excerpts require an extraordinary amount of attention to detail. In addition to practicing the correct notes and rhythms, preparing excerpts involves comprehending their context. By listening to the orchestra parts, one can learn to play the excerpt in an appropriate style.

Students worried about college audition day might want to reference Be Yourself: A Constructive Approach to College Auditions in the January 2024 Horn and More Student Column; however, do not neglect performance before auditioning. Play audition selections for anyone willing to listen, from band directors to music teachers to parents. Practicing the art of performing for others can help assuage the nerves of audition day. With repetition and simulation of audition day conditions, one can maximize their chances of success.

by Marty Schlenker

Dear Fellow Amateurs,

This month, amateur Jay Kosta is featured. Jay contributed to this column two months ago with a helpful embouchure treatise. Now, more about Jay.

Jay grew up in Cleveland and began his musical life playing the trumpet. His first lessons were at the music shop where his trumpet was purchased. These were followed by lessons from a faculty member of the Cleveland Institute.

After college, Jay relocated to Binghamton NY, which was a hub of employment for IBM. He sought to join the IBM Band there, which had been active since 1915. The trumpet section was full, but the band needed horn players, and they loaned him a single F horn.

The appeal of the horn grew, and Jay purchased a King double horn and later a Yamaha 668. While Jay doesn’t try to emulate the sound and style of any specific professional, his Cleveland roots influence him to go for a big, rich sound, which the 668 enables. Jay has been through a few mouthpieces before settling on a Conn 7. Jay found that its narrow throat improves upper register intonation.

The IBM Band reflected the company’s penchant for organization. Jay recounts that the band put on 20 performances annually, with music chosen specifically for each week, on a three-year programming cycle. The sixty programs were filed with folders for each chair. Concerts would be preceded by a single rehearsal—a whirlwind for new members, but “all in a week’s work” for band veterans.

In 2001, economic conditions led IBM to eliminate the Band. The grand finale of the IBM Band was Jay’s most memorable performance. Their weekly outdoor concerts had been drawing 30-40, but news that the band was shutting down spread far and wide, and a standing-room crowd of 500+ bid them farewell. The program included the IBM march, Ever Onward, and Billie Holiday’s I’ll be Seeing You.

A few years before, Jay had also joined the Maine Community Band, an even older institution, operating continuously since 1861. In addition to concerts, the Maine Band participates in parades on a band wagon pulled by a pickup.

Jay observed this about his role in his section: “I play second these days. My job is to make the first horn sound great.” And about his section’s role within the community band: “The role of trombone and horn is to reinforce the trumpet section…provide them a foundation to ride on.”

Jay credits The Trumpet Herald and its well-organized forums for horn-transferable insights. Jay sees many more similarities than differences in trumpet and horn pedagogy, noting that both teachers and students have to overcome the fact that fine movements are hidden and difficult to describe.

High register playing is a universal topic, in addition to balancing pressure between the upper and lower lips, and the role of the tongue. Jay once was stuck at G or A above the staff. “I was doing the ‘Armstrong Method,’ and it wasn’t going anywhere. But playing isn’t about pain tolerance. It’s finesse, a skill game with very fine movements. Now when I’m fresh, I can reach the upper C. When I’m in my basement, I can play Wagner’s horn call.”

Jay’s experience reminds us that the internet can be a great gift to those who strive for self-improvement. Jay read, listened, watched, experimented, trialed, and achieved.

How many of you out there have been led to playing opportunities at work? What forums have helped you improve your playing? Please let us know by contacting me at marty.schlenker@cavaliers.org.

Your servant and kindred spirit,

Marty Schlenker
Amateur hornist

by Vidhurinda Samaraweera

Brahms’ Horn trio is very special to me. I have wanted to perform it since I was 14 years old, but I patiently waited for my teacher’s approval to start learning the work. It took a while since it requires a great deal of emotional maturity, understanding, and experience as a performer. The only performance in Sri Lanka prior to mine was allegedly done by the legendary player and pedagogue Alan Civil in the 1950’s or 60’s. I have no evidence in writing to substantiate this claim, and the hearsay evidence of a veteran musician in Sri Lanka remains the only proof. While it was certainly a challenge to follow Mr. Civil, the only consolation for me was that there are not many still living to make comparisons of the latter with the former.

The concert was held at the Goethe-Institut Hall in Colombo on the 23rd of August 2024. I was joined by veteran Sri Lankan violinist, Ananda Dabare, and an accomplished Lithuanian pianist now living in Sri Lanka, Aleksandra Kolpakovaite. The concert was attended by an audience of just over 100, and the venue was fully booked. Considering that it was a chamber setup, and the fact that it is a serious program, the outcome, in my estimation, was very good.

L to R: Ananda Dabare (Violin), Aleksandra Kolpakovaite (Piano) and Vidhurinda Samaraweera (Horn)

I did not have the luxury of studying the natural horn (Waldhorn) nor do I own one. As a valve horn player, one of the hardest challenges was emulating the timbre of a Waldhorn when playing the valve horn. Therefore, to achieve a softer tone at a relatively low dynamic, I opted for a more closed hand position in the bell. It was an excellent way to change the color (to what Brahms likely preferred). As we prepared, we worked hard to achieve a good balance.

Key Takeaways

At a time and in a region where classical music concerts often go unnoticed, the program received much praise from those attending. I had the privilege of giving a brief introduction of the piece before the performance which seems to have been appreciated by the audience, although such a thing is generally perceived here as being unconventional.

Vidhurinda Samaraweera giving the audience a brief introduction about the Trio at the performance

Some were even brought to tears at the performance. One of the most memorable comments I received from an audience member was that during the intimately written lullaby-like passage in the Scherzo, she locked eyes with her baby and instantly felt loved. She went on to say it was the first time she ever saw or heard a horn being played live. It is my view that we, as a nation, are making slow but steady progress in horn playing, and I am confident that the small steps we are taking will carry us far.

I wish to conclude by quoting an old Sinhalese song (translated) that encapsulates the importance of investing in the future:

Our ancestors planted seeds in the past;

We are enjoying their fruits now.

It is our responsibility to do the same

For the generations yet to come!  

by Layne Anspach

Hello musicians!

For the next few months, Chamber Music Corner will focus on repertoire of the same instrumentation—quintet for piano and winds. Unlike the Classical quintets of Mozart and Beethoven, these quintets exchange oboe for flute. The first such work discussed in CMC was Louis Spohr’s Quintet, Op. 52, in August 2023. This month, we will focus on Adolphe Blanc’s Quintet, Op. 37.

Adolphe Blanc (1828-1885) was a French composer, conductor, and violinist. Starting at age 13, he attended the Paris Conservatory. From 1855-1860, he was employed as conductor for the Theatre-Lyrique. In 1862, Blanc was awarded the Prix Chartier in chamber music. His successful chamber music oeuvre is unique in a time when the French public’s interest was in opera. Blanc’s work helped pave the way for future French chamber music composers.

Blanc wrote his Quintet, Op. 37 in 1859 while he was conductor at the Theatre-Lyrique. Although lost, there is record that he wrote an arrangement of Op. 37 for piano and strings. The first movement, Allegro, in sonata form, starts with the full ensemble together. The first theme is carried either by the tutti ensemble or passing between winds and piano. The second theme shifts instrumentation entirely with clarinet and piano only, only later adding other winds. Following a build-up near the end of the exposition, a dotted eighth-sixteenth rhythm from the first theme returns as transitional material. The development is driven motivically with this rhythm as piano and winds pass fragments of the theme back and forth. The recap begins as expected, but the return of the second theme uses horn (rather than clarinet) as the leading voice. The movement ends with a coda as the piano plays constant sixteenth notes and the winds recall the first theme. The first movement accounts for half of the entire work.

The second movement, Scherzo, is in the typical large da capo form. The first section follows a light downward-leading motif in minor. The Trio moves to the parallel major and features a quaint waltz. Then, without fanfare, the movement returns to the scherzo to conclude. The final movement starts with a slow introduction, Andante maestoso. The subsequent Allegro is a pleasant and entertaining conclusion to the work in which a few sections feature winds without piano. The piano writing is never heavy, providing, overall, a very enjoyable listening experience.

The reference recording is from Les Vents de Montreal’s album Adolphe Blanc: Chamber Music for Clarinet (ATMA Classique). The hornist on the album is Denys Derome.

em português

by Ricardo Matosinhos

Hello to all horn players and horn enthusiasts who receive the Horn and More newsletter from the International Horn Society each month. I’m very happy to announce the release of my CD this month. Releasing a recording is always a special moment, but in this case, it becomes even more special because of the stories behind it. To celebrate the release of this CD, I will be offering 2 CDs to the first people who respond correctly to the questions posted in the September, October, and November editions. This is going to be fun!

The pieces featured on this recording were all born out of my DMA research titled Definition and Analysis of Idiomatic Elements in Works Composed by Horn Players. In a nutshell, this research aimed to identify the specific elements that make a piece idiomatically suited for the horn, focusing on works composed by horn players themselves, those who are native speakers of the hornistic idiom. This compilation offers a selection of such pieces, creating unique soundscapes—or more appropriately, Hornscapes. The horn is a remarkable instrument, capable of producing a rich and brassy sound while also blending with the delicate tonal colors of woodwinds. Additionally, this CD includes two pieces I composed, showcasing the Wagner Tuba in contrasting musical scenarios. In these recordings, you will encounter various genres and a multitude of extended techniques. However, it is important to note that these techniques are not merely a display of the performer’s technical prowess but, rather, demonstrate the diverse possibilities and expressions of the horn.

I am also organizing a crowdfunding campaign to help cover the costs of the CD release. If you would like to contribute, you can receive a CD or even a piece composed by me and dedicated to you. Check out the info here.

Now it’s time for the first question of this game. Are you ready?





Ein Waldhorn Lustig

by Matthew Haislip, DMA, Assistant Professor of Horn, Mississippi State University

IHS 56…what a great week! I just returned from the International Horn Symposium held in Fort Collins, Colorado, and hosted by Dr. John McGuire and Colorado State University. I cannot express how powerful this week was for me. The majesty displayed in celebration of our instrument was only rivaled, just perhaps, by the majesty of the nearby mountain scenery. I experienced the most riveting week I have had since I was a young kid discovering new horn recordings and seeing live performances for the first time. At nearly forty years old, I was filled with wonder at all of which the horn is capable. My heart raced with anticipation at the privilege of hearing Radovan Vlatković live for the first time…and then actually hearing him perform at indescribably stunning levels twice more during the week…I have no words! His gorgeous sound flows from one note to the next with such remarkable ease and connection; he truly is one with his instrument. Then, to get to hear Katy Woolley, Felix Klieser, Anneke Scott, Dylan Skye Hart, Andrew Pelletier, Shanyse Strickland, and so many others live after admiring them from a distance for so long was amazing.

The featured artist line-up was incredibly diverse, covering practically every single style of horn playing. The horn choirs that performed dazzled us with their ensemble skills and musicianship. I had the wonderful opportunity to perform one of my own compositions on a recital with my wife, an oboist. I met numerous old and new friends and learned so much from each of them. Most of all, the excitement and joy we all shared celebrating the horn was pure electricity. I will never forget this week. I only wish we had been able to spread the events over two or three weeks! I missed so many special presentations and performances that I could not see due to the timing of other events (or needing to actually eat or sleep).

Our Symposium marks the most intense power of the International Horn Society: to share with each other for one short week in one single place where we can learn and draw inspiration from each other in ways that the online or recorded world cannot imitate. We are thriving, with inspiration, diversity, and youth everywhere we look. The students, for example, who performed in masterclasses at the Symposium played at such incredibly virtuosic levels. The state of horn playing is alive and well, and its future is secure.

Bravo to everyone involved in this exciting week! There has never been a better time to get involved with the IHS.

A particular highlight for me: Dylan Skye Hart performing Bruce Broughton’s Horn Sonata with the composer at the piano (photo credit, Matthew Haislip)

by Myrddin Rees Davies

Hello everybody,

Those of you who follow the IHS on social media may have seen that our story was rather busy during IHS 56! For those who couldn’t make it, here’s a collection of photo highlights showing what an IHS Symposium looks like.

It goes without saying that, with so many wonderful events over the course of the five days, there is not nearly enough space to squeeze photos of everything into one report, and I hope nobody feels left out. I have tried to present symposium highlights rather than a documentation of everything that happened.

We would, of course, like to reiterate a huge thank you to the literal hundreds of wonderful guest artists, lecturers, competitors, exhibitors, organisers, and participants who made this such a success.

Day 1

Day 1 of an IHS Symposium is always special, whether you’re an established veteran meeting up with old friends or a “newbie” attending for the first time, it’s a unique feeling to arrive on campus and discover all that’s in store for you over the coming days.

This year, in addition to the usual opening concert, exhibit halls, lectures, and recitals, participants were in for a special treat: the first ever collaboration between the IHS and the International Horn Competition of America saw the finals of the IHCA’s University and Professional divisions.

Exhibits, panel talks, lectures, performances, competitions…IHS 56 had it all!

Day 2

Day 1 had set the bar high, but day 2 showed no signs of slowing! The day started with warmups and the Octet Horn Ensemble Competition, and among its many highlights were a performance by the US Airforce Academy Band, the University Horn Quartet and Jazz Competitions, and lectures on everything from the natural horn in fin-de-la siècle Paris to how to best select a mouthpiece.

The featured artist concert with the US Air Force Academy Band on Day Two
A panel from the Chromatic Brass Collective discussed their experiences and wonderful work that they do with their group	Participants immersed in another wonderful lecture

Day 3

Day 3 started with an important fixture of the annual calendar: the General Meeting. (IHS members, by now, you will have received a link to a video recording of this meeting, report documents, and details of how to get in touch with suggestions and other comments you may have).

Outgoing President Radegundis Feitosa hosts the general meeting
Embracing social media is more and more important fopr horn players of today - as Scott Leger explained in his lecture	Featured artist Radovan Vlatković in recital

Day 4

Massed horn choirs, the Premier Soloist competition, masterclasses from featured artists, and, of course, several lectures were all features of day 4. Part of the evening was dedicated to recently-departed horn legend Hermann Baumann, with a lecture on his relationship with the natural horn by Anneke Scott before featured artists took to the stage for the Hermann Baumann memorial concert.

The NUCORNO ensemble performed an arrangement of Holst's The Planets	IHS Symposiums can be a space for unusual collaborations!
Participants making the most of the Fort Collins sunshine	Featured artists in the Hermann Baumann memorial concert

Day 5

All good things must come to an end, and IHS Symposiums are no exception…but at least they come around once a year. It's a pleasure to share this year’s wonderful group photo, with a very full stage of happy horn players from all over the world.

If you couldn’t make it and looking at these photos is making you feel left out, don’t worry—check out details of IHS 57 below! 

Our wonderful IHS Community!

Get ready now for IHS 57, happening June 24-28, 2025, at James Madison University in the charming town of Harrisonburg, nestled in the scenic Shenandoah Valley of northern Virginia—and just 2 hours from Washington D.C. https://heritage-horns.com

IHS 57 host Ian Zook and his team have already begun putting together an inspiring event, with an incredible lineup of Featured Artists showcasing the rich diversity of our horn community and styles of playing. Start making your plans now—you won’t want to miss this exciting experience!