by Matthew Haislip, DMA

Hello, everyone! I am Dr. Matthew C. Haislip, Associate Professor of Horn at Mississippi State University. I currently serve the International Horn Society as Media Reviews Editor for The Horn Call and as Mississippi Area Representative. I am a founding member of Quintasonic Brass and am a contracted member of the Starkville Symphony, North Mississippi Symphony, Meridian Symphony, and Missouri Symphony. Additionally, I serve on the faculty of Blue Lake Fine Arts Camp in Michigan during the summer months and have performed with ensembles across the nation, including the Cincinnati Opera, Opera Naples, Omaha Symphony, West Texas Symphony, and Billings Symphony, among others.

The International Horn Society has filled me with a strong sense of community ever since Shawn Hagen, retired hornist of The United States Army Band “Pershing’s Own,” bought me a three-year membership to the IHS when I was in junior high school. His influence on me as a family friend who inspired me to take up the horn and who supported me in my studies demonstrates the generous camaraderie of horn players that countless others have also experienced from members worldwide.

As a composer, I feel that new music is vital for our future as hornists. My book, Dueling Fundamentals for Two Horns, published in 2019 by Mountain Peak Music, has been endorsed by several international hornists. I was ecstatic to learn that players of all levels found it to be a helpful and enjoyable pedagogical tool. I am also proud to have had the opportunity to lead the successful commissioning consortium for Anthony Plog’s Horn Sonata and to have performed the world premiere of this riveting new work in 2023. The IHS offers members help with commissioning new music through the Meir Rimon Commissioning Assistance Grant Project. Consider the relationships hornists have cultivated with composers that brought us masterworks such as Benjamin Britten’s Serenade for Tenor, Horn and Strings, or Krzysztof Penderecki’s Winterreise Horn Concerto. Perhaps we could see a new horn concerto by a thrilling contemporary composer such as Caroline Shaw someday! With each endeavor, we hope that future generations will look back on this era in the international horn community and see our work as having been meaningful and enduring…and I believe that they will.

Our horn world has never been richer, and the IHS is leading the way with profound artistic performances, groundbreaking commissions with prizes awarded to repertoire by composers of diverse backgrounds, excellent regional and international symposia, a regular podcast, celebrations of stylistic freedom for maximal artistic expression and exploration, and decades of educationally enriching publications available at the click of a button—including The Horn Call and Horn and More. How will you make your own unique mark on the horn world? We can’t wait to see!

by Katy Carnaggio

PERFORMANCE REMINDER: Nobody’s coming to see a perfectly resonant, in-tune G…they are coming to see you! The same quirks and qualities that endear you to your friends can also captivate an audience. If the pressure to “get it right” in your final moments of prep becomes overwhelming, try this:

1. pick 3 of your favorite personal characteristics
2. ask a friend to give you 3 more
3. bring this list to your repertoire

Are you funny? Turn your appoggiaturas into inside jokes. Thoughtful? Let the rests breathe like they’ve just said something profound. Empathetic? Explore how your instrument wants to vibrate and how it interacts with surrounding objects in the room; even the ceiling has its own sound and resonance.

With added depth to your music, focus to your practice, and authenticity to your performance, you can’t go wrong by leading with your best qualities!

by Payton Grotewiel

The task of buying a personal horn can be daunting, especially with a four- to five-figure price tag attached. Luckily, purchasing a second-hand horn can provide you with a manageable, lower price. Finding a quality used horn can be easy if you know two things: where to look, and what to look for.

Instrument manufacturers and suppliers, such as Yamaha Corporation, and retailers, such as Houghton Horns or local music and instrument shops often sell online. These shops usually contain a dedicated page or filter for “pre-owned” or “used” horns, allowing you to narrow your search on their website.

The second place you can search is in online community markets, like Facebook Marketplace. Advantages of purchasing from these markets include the ability to ask about the instrument directly with the owner and inspect it in person before buying. As these markets often require little verification from their sellers, know in advance exactly what to look for when buying.

Once you find a horn that fits your needs, note the price, damage, any accessories, as well as the seller’s credibility. If you do not make your purchase from a credible seller, there is a chance you could lose a lot of money or purchase a horn different from what was listed. To verify a seller’s legitimacy, check their reviews both on the site and on other online venues. If a website requests too much personal information or has a vague return policy, avoid them. To ensure reliability, stick to familiar and popular sellers that allow returns on products.

Price is another key factor to consider before purchasing your horn. Used horn prices will vary, but you can expect a price of $2,000-$7,000 depending on the model and condition. If the price is over $8,000, you should be looking at a high-quality model with minimal damage. If a price seems extremely low, it could be due to damage to the horn, which is why you should closely inspect all photos of the horn. Any dents or scratches to the bell of the horn will not likely impact the instrument's sound, but damage to the leadpipe, main branches, or tuning slides will require costly repair. Remember that it is okay to request additional photos and to negotiate the price before purchasing.

Accessories included with the horn will also affect the price. Many instrument companies will not sell a mouthpiece with a preowned horn due to sanitary concerns. Additionally, some sellers may not include a case or maintenance supplies. Thoroughly read the description of the product so that you can re-adjust your budget for the remaining items.

Owning a horn is a significant milestone in a player’s musical journey, so it is important to be cautious when selecting yours. If you shop online and apply these crucial guidelines, you should not have any trouble finding a horn that suits your needs. Good luck!

by Todd Goranson

In addition to performance anxiety and musculoskeletal injury prevention, there are several other health considerations that merit attention by the horn player. These include the topics of hearing loss, focal dystonia, and holistic wellness.

The high level of loud sound/noise inherent to the musical workplace creates a significant risk of hearing injury for the brass player. In a 2014 study of German professional musicians, data indicated a fourfold hazard risk for noise-induced hearing loss as well as a 57% higher rate of tinnitus (ringing of the ears) for musicians compared to the general population.^[1] The constant exposure to high decibel levels can cause gradual damage that may not be noticed until a significant deficit is present. Fortunately, there are several commercially available earplug options that attenuate sound evenly through the frequency spectrum (unlike foam earplugs) that are designed for musician use, as well as others that can be custom-fitted for players by an audiologist. Creating a habit of decibel-level awareness, as well as using hearing protection in practice, rehearsal, and performance can prevent hearing injury and mitigate future hearing loss. Other steps to decrease risk may include appropriate use of plexiglass shields and risers in rehearsal and performance spaces, taking regular breaks when in a loud environment, increasing space between oneself and students during teaching, and choosing the safest possible acoustic spaces for practice and rehearsal. When listening to music on personal devices, be mindful of the volume and, if possible, use over-ear headphones rather than earbuds or AirPods to reduce risk of hearing injury. (Over-ear headphones generally provide better passive noise-blocking and lower risk of ear infection than in-ear devices.)^[2]

Focal dystonia is a neuro-muscular disorder that impacts muscles in any single region of the body by causing them to move or pose abnormally. At least 1% of musicians are affected, which is a rate several times higher than the general population.^[3] Brass players are particularly susceptible to focal embouchure dystonia (FED). For those impacted, symptoms can vary anywhere from a rare, single pitch inaccuracy, to a completely debilitating condition that makes regular playing unfeasible. It is sometimes compared to a “short circuit” in the nervous system, and the symptoms include tremors or involuntary contractions of the mouth, as well as air leaks at the corners of the embouchure. The affected muscles can include any of the facial muscles, including those of the jaw, mouth, or tongue. While focal dystonia is alarmingly common among musicians, it is a confounding condition that may involve several risk factors (including repetitive motion, mouthpiece pressure, psychological trauma, family history, and gender, as most affected individuals are male).^[4][5] Focal dystonia does not have a known cure, but treatment currently centers around retraining the body/nervous system to perform the impacted musical task without triggering the dystonic response, rest, and stress management. There are several international support organizations for individuals with focal dystonia, and a promising 2024 journal article by Joy Grifoni et al in Frontiers for Neuroscience advocates for a “comprehensive, multimodal therapeutic approach that recognizes the multifaceted nature of the condition.”^[6] The authors proposed a combination of personalized psychotherapy, physiotherapy, and neuromodulation (remapping neural pathways) for treatment of affected musicians.

Finally, the pursuit of holistic health is of vital importance for the artist-athlete. Amid the demands of deadlines and performance schedules, musicians frequently prioritize musical or vocational goals above their personal well-being. However, we are limiting ourselves when we sacrifice our long-term health for short-term accomplishments. “Check in” with yourself frequently. Remember to take breaks. Adequate sleep and rest, proper nutrition, and regular exercise that promotes flexibility, strength, and cardiovascular health will enhance our ability to perform and our enjoyment of life. There is wisdom in the avoidance of toxic circumstances and substances. Reserving moments of mindfulness each day, finding time to enjoy quiet, and connecting with friends and loved ones with intentionality will not only help us achieve optimal physical and emotional health, but will remind us why we have chosen the path of an artist.

Todd Goranson, DMA, BSN, RN
Professor of Saxophone & Bassoon, Messiah University

by Vidhurinda Samaraweera

For horn players worldwide, "Hornissimo" is a name synonymous with excellence. This prestigious festival—dedicated to teaching, knowledge-sharing, and empowering horn players across all skill levels—recently marked a historic milestone with its first-ever participant from South Asia.

Hornissimo Ensemble in rehearsal

A Festival Born of Passion

Hornissimo founder Peter Arnold

The Hornissimo Festival is the brainchild of Professor Peter Arnold, a distinguished German horn player and educator whose contributions to the instrument have earned international acclaim. What began modestly in 1998 in Glottertal, Germany, with just 25 participants has evolved into a cornerstone event for the global horn community. Since relocating to Staufen in 2003, the festival has grown exponentially, now attracting over 100 participants annually from across the globe.

The 2025 edition, held from June 19-22, showcased this international appeal with representatives from over ten countries, including Australia, China, Hong Kong, Japan, Korea, Poland, Spain, Switzerland, Taiwan, and Ukraine. This year's festival was particularly significant as it welcomed its first participant from the South Asian region—a moment that could reshape opportunities for horn players across the subcontinent.

World-Class Faculty and Industry Support

Hornissimo provides an exceptional combination of renowned faculty, innovative programs, and industry support. The 2025 faculty featured a stellar line-up including Christoph Eß (Director), Peter Arnold, Christian Lampert, Samuel Seidenberg, Will Sanders, Saar Berger, Dariusz Mikulski, Philip Römer, and Martin Grom, each bringing decades of performance and expertise to the table.

Leading instrument manufacturers and dealers, including but not limited to, Gebr. Alexander, Hans Hoyer, Ricco Kühn, Juhász Zoltán, Dotzauer, Josef Klier, and Durk Horns supported the festival. On-site sales and marketing proved to be a useful method for creating invaluable networking opportunities between participants and industry professionals.

Immersive Learning Experience

The festival's unique structure allowed each attendee to participate in horn ensembles conducted by various faculty members in addition to receiving individual lessons. The state-of-the-art facilities of the Bund Deutscher Blasmusikverbände (BDB, the Association of German Brass Bands) provided an ideal setting for this intensive learning experience, with accommodation and meals provided for participants.

Competition and Performance Opportunities

Competition winner Hanna Arnold

The festival opened with the finals of the Hornissimo competition, featuring finalists of three age categories: horn4kids, born4horn, and horn4pros. This year's festival concert on June 20 in Bad Krozingen showcased emerging talent, with 20-year-old Hanna Arnold claiming first prize in the horn4pros category. Eloy Tamo and Oskar Szathmáry secured second and third places, respectively. The celebration continued with final concerts on June 21 and 22 at the BDB Musikacademie where competition winners and participants shared the stage.

Cultural Bridging and Future Implications

Vidhurinda Samaraweera

The attendance of South Asia's first Hornissimo participant represents more than a personal achievement; it signals potential transformation for the region's horn community. This breakthrough, supported by Professor Peter Arnold's encouragement and a full scholarship offered by Gebr. Alexander, addresses a critical gap in formal horn education across South Asia. The connections forged at Hornissimo 2025 could catalyze improved playing conditions, higher performance standards, and expanded educational opportunities across South Asia.

Hornissimo remains not just a festival, but a gateway to excellence—one that now extends its reach to new corners of the world, promising a more inclusive and diverse future for players of our noble instrument.

by Layne Anspach

This month’s Chamber Music Corner will focus on Carl Czerny’s Premier Grand Trio, Op. 105. Czerny (1791-1857) is mostly known for his pedagogical piano exercises, but he was also a composer and pianist. A pupil of Beethoven, Czerny is credited with preserving Beethoven’s legacy, and he was known for his interpretation of Beethoven’s piano pieces. Czerny had pupils of his own, including Liszt. Although largely forgotten today, he composed a wide variety of works totalling 861 unique opus numbers, ranging from sacred to secular, mostly for piano.

Carl Czerny’s Premier Grand Trio in E-Flat Major, Op. 105 was written in 1827, likely owing to Czerny’s friendship with Czech hornist Johann Janatka. The work was performed privately by Czerny, Janatka, and violinist Joseph Mayseder several times prior to its publication in 1830. At the behest of the publisher, Czerny included a cello part to substitute for the horn to help boost sales. The edition that is commonly performed today is from Amadeus Verlag, edited by Peter Schmalfuss, which has reworked the horn part based on both original cello and horn parts.

In the first movement, Allegro in sonata form, the violin performs the A theme with the horn and piano following in quick succession. After an ascending scale shared by horn and violin, the B theme in the dominant is presented by the violin. The B theme continues with some harmonic variance, ending with a short cadential statement before immediately moving into the development. A protracted development, with the expected various key areas and motivic fragmentation, is heard prior to a descending scale in the piano as retransition to the recapitulation. Following the return of the A and B themes is an extended coda, carried at first by the piano but which later melodically involves the violin and horn.

The Adagio middle movement presents two melodies. The first is played initially by the violin, but the horn enters eight measures later with the second melody. Czerny changes accompaniment style and adds ornaments to both melodies as the movement unfolds.

The final movement, Rondo: Allegro scherzando, starts with an introduction of melodic fragments from later in the movement. The first theme in its full form is heard in the piano and then taken over by the horn. The second theme is presented by the violin and includes a characteristically defining trill figure. Czerny alters aspects of the melodies in addition to the changing keys throughout the movement. Tempo giusto precedes a slow Poco sostenuto in B major which has the second theme played by the horn. The key is short-lived as the violin and piano bring the movement back to E-flat major prior to the final Presto which energetically concludes the work.

The reference recording is a live performance from 2022 in Iruma, Saitama Prefecture, Japan. The hornist is Sekitoshi Nobusue.

em português

Opportunities, Challenges, and New Resources

by Ricardo Matosinhos

This is the second article in a series dedicated to low horn playing. If you have not read Part 1, you can find it in last month’s edition of Horn and More. 

Low horn today: opportunities and struggles

The high horn/low horn divide remains relevant in orchestral repertoire and in general performance practice. While professionals should master the full range, from pedal F to high C and beyond, players tend to gravitate toward the register that best suits their physical characteristics.

Many low horn specialists followed that path either due to difficulty with the high register or because they were often assigned to second or fourth horn parts. A student who frequently plays the lower parts naturally becomes more proficient in that range, even if it wasn’t their initial intent.

Orthodontic treatment adds another layer of difficulty. Braces often limit access to the high register, and if the repertoire doesn’t accommodate this, students may feel frustrated, sometimes enough to quit. I addressed this issue in my article “Orthodontics and Horn Performance” (The Horn Call, February 2016). Nearly a decade has passed, and it is clear that we need to revisit the topic, particularly regarding repertoire suitable for students with braces or for anyone developing their middle-low and low register.

Tools and studies for low horn development

At the time of my 2016 article, the Stratos device, designed to reduce embouchure pressure, was only available as a costly metal version. Since then, Marcus Reynolds has released the more affordable Stratos Performer in plastic, which has received positive feedback from the horn community.

Etude books focusing on the low register:

• Caliendo, K. (2021) 18 Virtuosic Concert Etudes for Low Horn
• Denniss, G. W. (1993) Studies for Low Horn
• Frehse, A. (1954) 34 Etüden für tiefes Horn
• Grabois, D. (2009) Twenty Difficult Etudes for the Horn’s Middle Register
• Hackleman, M. (1990) 34 Characteristic Etudes for Low Horn Playing
• Matosinhos, R. (2013) 15 Low Horn Etudes
• McCoy, M. M. (1986) 46 Progressive Exercises for Low Horn
• Miles, P. (2009) Low Horn Etudes and Drills for the Intermediate Horn Player
• Neuling, H. (1951/1986) Spezial-Etüden für tiefes Horn and Studien für Horn
• Pitarch, V. Z. (2002) 20 Estudios para Trompa Bajo
• Ware, D. (2006) Low Horn Flexibility Studies
• Weingärtner, F. (2009) Etüden für tiefes Horn, Vols. 1–3

In addition to etudes, the player’s need to transpose is a useful asset. Practicing in C, B♭ basso, or even ottava bassa helps you develop both your low range and transposition skills simultaneously.

Low horn repertoire: a growing catalogue

The list of solo pieces for horn and piano focusing on the low register is still modest but growing steadily. I’ve made it a personal mission to help expand this repertoire, creating works that highlight both the expressive and technical potential of the low horn.

Often, works for the low register are highly virtuosic, not ideal for someone wearing braces, at least at the beginning of the treatment. I’ve had students successfully play pieces such as Saint-Saëns’s Romance Op. 67 (ending on a high B) or Michael Haydn’s Concerto (with high A’s); but early on, each half-step in the high range must be carefully conquered, with sweat, a few tears, and hopefully no blood!

Here is a selection of recommended pieces, with comments on their difficulty and range:

• Gina Gillie, Reverie – Mostly in the middle range with a couple of high F’s. Designed for recovery from focal dystonia, but also very suitable for players with braces due to the gentle intervallic writing.
• Brett Miller, Hunting Songs – Three expressive movements ranging from low G to high C.
• Brett Miller, Tardigrade – Focused on the middle-low range, from low D to high E.
• Dante Yenque, Tanguito – Playful and idiomatic writing, with a range from low A to middle G.

…and some of my works:

• 5 Miniatures Op. 89b – Inspired by Portuguese folk melodies; gradually increasing difficulty. Range: Low F–High F.
• Low Horn Suite No. 1 – Three contrasting movements from low C to middle A.
• 4 Pieces – Focused on use of the B♭ side of the horn; range: low C to middle B.
• Low Horn Suite No. 2 – More advanced than Suite No.1; range: low C to high E.
• 4 Impressions – Based on Portuguese folk songs; range: low C to high F (ossia sections available).
• 5 Miniatures Op. 88 – Designed for the first 5 years of learning; range from low C to high G (the first 4 pieces have a maximum of high E)
• Katharina’s Suite – Mostly in the middle range (from low A to high F), with optional improvisation sections that allow range adaptation.
• Reflections – Winner of the 2016 IHS Composition Contest (Featured Division); range: low G♯ to high G, with a focus on the low register.
• Iberia – Written range from low C to high F/G. Features optional multiphonics and ossia sections for range adjustment.
• Blues for Marco – For the brave! Range: pedal C to high F (ossia available: low F to high F).

Final thoughts

If you decide to work on your low horn playing, remember you can always adapt, transcribe, or compose works to suit your range and needs.

I hope these two articles have sparked greater interest in exploring the low horn. Have fun discovering the beautiful, often-overlooked lower range of the instrument!

Ein Waldhorn Lustig

by Caiti Beth McKinney

Hello everyone!

This month I want to introduce another outstanding orchestral composer, Avril Coleridge-Taylor (1903-1998). While you may recognize her surname thanks to the increasing popularity of compositions written by her father, Samuel Coleridge-Taylor (1875-1912), the works of his equally-skilled daughter have yet to gain proper recognition. Avril had unique access to quality music education thanks to a combination of musical parents; her mother, Jessie Walmisley, was a talented singer. Avril was born into challenging circumstances due to racial bias; the Walmisley family disapproved strongly of Jessie’s marriage to Samuel due to his African ancestry (his father was a Creole man from Sierra Leone, while his mother was white). The Coleridge-Taylor family experienced frequent financial hardship, and after Samuel’s passing in 1912 when Avril was only nine years old, Jessie banned music in the household.

Despite these devastating circumstances, young Avril taught herself piano by practicing works left behind by her father, and she eventually won a scholarship to the Trinity College of Music in London to study music. While in school, she studied with another composer whose name should be familiar to horn players, Gordon Jacob (1895-1984). The entirety of Avril’s life is a testament to resilience and fortitude in the face of adversity; a loveless marriage, racial discrimination (she was forced to flee a music tour in South Africa after her heritage came to light), as well as bias towards her gender. Even so, she became the first woman to conduct the Royal Marine Band, and she guest conducted ensembles like the London Symphony Orchestra and the BBC Orchestra.

In addition to her accomplishments on the podium, her compositions are likewise outstanding. My personal favorite—and one that feels especially timely—is a work entitled Sussex Landscape, Op. 27. (Here is mvt. 1, Largo, from this work.) This twelve-minute tone poem, despite its idyllic and pastoral sounding name, was actually written about Avril’s heartbreak at the outbreak of World War II. Coleridge-Taylor uses horns and brass to great timbral effect in this work, including a variety of chorales and solo moments that allow the performers to show off a variety of tone colors and moods. Deeply emotional and moving, Sussex Landscape is a valuable and noteworthy addition to our orchestral repertoire.  

by Mike Harcrow, Editor

I hear too many players—mostly, but not always, students…and certainly not always just horn players—do a half-hearted warm-up or practice session, one in which breaths are not full and in which distractions are present (primarily cell phones with social or streaming media running), one in which “noodling” is allowed to count for something more productive. I will confess that I have been guilty of falling into cycles of these things myself, and I do make the conscious effort to resist such temptations.

What quickly creeps into disengaged playing are bad habits: inaccuracy, poor energy, erosion of the ability to concentrate, and possibly even the loss of positive gains made—not to mention the time we are stealing from our own good learning.

Keep phones and laptops separate from productive time. Most of us have useful tools on our devices (tuners and drones, metronomes and rhythm generators, audio-visual feedback, model recordings, etc.), so this is a difficult demand to make of ourselves. I understand this; but we must be disciplined to use only the app[s] necessary for a particular practice session and for a specific reason, then silence the device and put it out of sight. Designate “viewing time” or “listening time,” apply what is being studied, then be done with it for the time being. Thorough maintenance (or, if needed, restoration) of the sensory engagement required to make the best music is crucial just to maintain our standards…and all the more so to continue advancing them.

The flute professor at the university where I teach plays an incredibly beautiful warm-up. She will isolate herself as best she can, just herself and her flute, and play a variety of long tones—just long tones, often with her eyes closed…and they are truly gorgeous sounds, whether high or low, loud or soft, straight-tone or with vibrato. She is focused, intentional in breathing and production, and deeply mindful of her tone. It is so simple yet truly inspirational.

Cloak yourself in the music! Work for performance-quality playing at all times. Create your best sound with ease and energy. Eliminate the onset of tension in any part of the body. Engage your ears. Imagine a connection between the tongue and fingers in tricky articulated passages. Concentrate happily. Find a willing and well-disciplined accountability partner who will help you keep yourself in check.

Mentally- and sensorily-engaged playing shows excellent discipline. Much more can be accomplished in 20 minutes of complete and intentional awareness than in an hour of perfunctory swipes at a passage or technique.

The 58th International Horn Symposium will be held at the Krzysztof Penderecki Academy of Music in Kraków, Poland, July 7-12, 2026, and hosted by Wojciech Kamionka.

Bookmark symposium.hornsociety.org and check regularly for updated information!