IHS 54 is right around the corner, and I am certain that host Jennifer Sholtis and her crew are sweating a bit as they finish up the semester at Texas A&M-Kingsville while preparing a great symposium for us. Be sure to check below and on the IHS website for all deadlines (registration, competitions, etc.) if you are planning to attend…and I do hope you will be there! Until then, the horn world keeps turning, and Horn and More is here to help put just a bit of it in the spotlight.
For our May issue, editorial staff member Heather Thayer has connected us with Cati Beth McKinney and her current list of underrepresented composers, and Gabriella Ibarra brings us word from Orlando Florez about the important work he does teaching young horn players in Brazil. Angela Winter is back with another great video interview, this time with IHS honorary member (and one of my former teachers) Dr. William Scharnberg. We will vicariously visit Cambodia through the eyes of Vichet Khoun. United States National Symphony member Bob Rearden tells us about his recent recording project, Idyll; and, Twin Cities freelancer Garrett Krohn introduces us to his irrepressible alter-ego. Finally, I am extremely happy to welcome our new Pedagogy Column provider, Daniel Grabois, who himself has written the first column in his tenure with Horn and More.
I have been hoping to add something light-hearted to Horn and More. The trumpet world has Jeffrey Curnow, so I’ve been wondering if any of you are talented cartoonists? or perhaps you create original horn-related memes? If you have the skills and interest, please contact me using the Editor’s email address at the bottom of this issue. Thank you for considering it.
And now, on with the show!
Mike Harcrow, Editor
Horn and More
by Caiti Beth McKinney
Hello everyone! My name is Caiti Beth McKinney, and it is my honor to share a new resource with you all—REPresent: Repertoire for Horn by Underrepresented Composers. Focused entirely on showcasing works by historically underrepresented composers such as women and people of color, this catalogue includes solo works in addition to chamber music for brass and wind quintets, violin trios, horn ensembles, and everything in between. There are hundreds of pieces of wonderful music you may or may not have heard before, with links to composers’ websites, recordings, and places to purchase (where available).
My passion for promoting diverse musical voices began as a slow burn. In the 2017-2018 school year, I was planning my first required doctoral recital when I realized I had never performed a piece of music for solo horn composed by a woman. Instead, my undergraduate and master’s recitals had been filled with standard works (the Strauss concertos, etc.). I began researching online and stumbled upon Lin Foulk Baird’s website of Works for Horn by Female Composers, which is an incredible resource! However, I came to the realization that, at the time, there was nowhere to easily find pieces by diverse composers, so I decided to begin my own project, purely for my own reference.
I began a spreadsheet to keep track of all the pieces I was coming across, including information such as the length of the work, instrumentation, links to recordings and vendors, and any other details I thought were important. To find new (to me) compositions, I used a mix of formal and informal resources; for example, I would scroll through Spotify playlists such as “1200 Years of Woman Composers,” looking up every name and checking for...
Honorary Member Nominations
The IHS Honorary Membership Nominating Committee invites any current IHS member in good standing to nominate deserving living hornists for the IHS's highest honor. Please visit www.hornsociety.org/ihs-people/honoraries for information on our Honorary Members and instructions on how to submit a nomination.
by Bob Rearden
National Symphony Orchestra hornist Robert Rearden has released his first solo recording, Idyll, available digitally on all streaming services as well as on CD. Rearden is joined on the album by friend and frequent collaborator Teddy Abrams, who not only accompanies Rearden but who composed a new piece for the project as well.
Rearden: In the great symphonic and operatic works of Brahms, Mahler, Strauss, and Tchaikovsky, some of the most beautiful passages are written for the horn. However, the solo horn repertoire by these great masters is limited to the concerti and a few incidental pieces by Strauss in addition to the trio by Brahms. It is my hope that this compilation—featuring other works by these composers, as well as a piece by violinist and composer Fritz Kreisler, and works by two of the most important artists of our time, hornist and composer Félix Dervaux and conductor, pianist, clarinetist, and composer Teddy Abrams—will highlight welcome additions to the horn’s lyrical repertoire.
The horn parts from the works of Kreisler, Mahler, and Brahms are played from the original scores. However, Yuriy Leonovich and Nathaniel Hepler have expertly created transcriptions of the works of Strauss and Tchaikovsky, respectively.
Richard Strauss’ works explore the dramatic range and colors of the horn. The Emperor’s Monologue from Die Frau ohne Schatten features an extended solo (originally for cello) leading to a beautiful, lyrical section and a thrilling finish. Morgen! exploits the singing quality of the horn’s mid-low register. In Hab’ mir’s gelobt from Der Rosenkavalier, Leonovich brilliantly melds the vocal trio and Strauss’ heroic horn writing.
by Rev. Vichet Khuon
Hello, my name is Vichet Khuon, and I am from Cambodia. I was born in 1980 to a large and happy Buddhist family; I have three brothers and two sisters. At that time, Cambodia was still involved in the civil war with the Khmer Rouge. Soon after my birth, my mother accidently consumed poison that caused her many difficulties. She was not able to talk or even dress herself, so my father decided to take her to one of the hospitals in Thailand. He had to sell our house and most of our possessions to afford this, but we went to Thailand together in 1981. When we arrived at the border, we learned that we could not get to the intended hospital; so instead, we went to a refugee camp and found a hospital there that was eventually able to cure my mother. We lived in the camp for about ten years.
In 1991, we were finally able to return to Phnom Penh; but in 1994, my family decided to send me to live with my uncle because we did not have enough food for us all. I became his house cleaner, car washer, cook—his servant, even though I was his nephew and only a boy. At age 15, he did enroll me in a Fine Arts school. There, I met a teacher named Naomi Sharp from England. She taught me how to play horn, and her Christian faith was a positive and powerful influence on me as well.
When my uncle learned that I had become a Christian, he would not allow me to live with him anymore, so I had to move to the school. From that point, my life became more difficult; I had no food, no room, no possessions of my own, but I tried hard to learn horn. Ms. Sharp continued to teach me, but she also gave me food each day. At first, I felt like I didn’t know anything about music…what is music? why music? I thought that the sounds of guns and mines that I had...
IHS Position Opening
The IHS is looking for help! We have an opening for an Exhibits Liaison, an ongoing position with compensation. This position fills a need the IHS has to provide a resource to the International Symposium Coordinator, other workshop hosts, and the IHS Advertising Agent to facilitate the presence of exhibitors at international workshops and symposia as well as at regional or other workshops. For more information and to submit your resumé and cover letter, please visit www.hornsociety.org (member log-in required).
Prática Diária: Exercícios Técnicos para o Aprendizado da Trompa
Por Orlando Afanador Florez
Os materiais didáticos e pedagógicos para o ensino da trompa são diversos e com diferentes abordagens, de acordo com o nível técnico para o qual foram desenvolvidos. O presente texto descreve como o livro “Prática Diária: Exercícios Técnicos para o Aprendizado da Trompa” foi concebido e aplicado como material pedagógico no ensino da Trompa dentro do programa Núcleos Estaduais de Orquestras Juvenis e Infantis da Bahia NEOJIBA, na cidade de Salvador, no Brasil, e como ele tem sido usado para definir aspectos técnicos como: desenvolvimento de som, articulação, centralização de som, flexibilidade e diferentes modelos rítmicos de escalas maiores, que permitem a unificação de critérios de ensino dentro do programa.
Este livro define exercícios técnicos específicos para os níveis: inicial e intermediário; que podem ser articulados junto a outros métodos de reconhecidos autores para permitir o avanço técnico-instrumental dos alunos que fazem parte do programa nas diferentes orquestras e núcleos de formação.
Desde a minha chegada ao programa, venho trabalhando no desenvolvimento da escola de trompa. Um dos objetivos é que mais crianças e jovens conheçam e executem o instrumento. Por conta disto, surgiu a ideia de ter um material pedagógico que pudesse ser referência nas diferentes aulas de técnica instrumental, nos diferentes níveis do programa,...
Praise forInternational Horn Society:
The First 50 Years
“There is a felicitous German phrase for a wonderful musical happening: Ohrenschmaus, that is, a feast for the ears. In this case, we have an Augenschmaus, a feast for the eyes, starting when you open the cover: you see a glorious and playful layout of all the covers of all of The Horn Calls since the first one in full color. And to accompany the visual delight is the content itself, which is a feast for the mind.... You need to run, not walk, to get a copy!” Jeffrey Agrell, The Horn Call
Buy the book!
In this who’s-who interview, Angela Winter catches up with our very own International Horn Society “energizer bunny,” honorary member and 2017 IHS Service Medal of Honor recipient Dr. “Professor” William Scharnberg, to chat about his life and career.
Dr. Winter is Associate Professor of Music at Adams State University in Alamosa, Colorado, USA, where she serves as professor of horn and director of bands. She has four rescue dogs and has run more than 40 marathons and ultra-marathons.
Ivan the Inspector
Hello! I’m Garrett Krohn, a horn player, husband, and father, but to many children in the community, I’m recognized as Ivan the Inspector! In January of this year, my good friend Chris approached me about starting a kids YouTube channel. With his two young children, he has watched many kids shows and he noticed a few things: there are very few live-action kids shows, the ones that currently exist are not always well-produced, and they often have a main character that is generally annoying to the parents. After several weeks of brainstorming and workshopping a character, Ivan the Inspector was created. We are a wholesome, educational children’s program with a new episode posted on YouTube every Friday. We currently have 12 episodes with over 200 subscribers and over 6000 channel views. If you have a child under 8—or if you want to learn fun things yourself—please check it out!
Chris and I make a great team putting together these videos. He handles all the videography and video editing, while I take care of the music and the acting. Most people think that a trumpet is used in our theme song, but if you listen closely, it’s actually a horn! I recorded it on my old Alexander 107V descant horn, all on the high F side, with a Maslet mute. Learning a skill (like the work put into playing the horn), has helped me productively contribute to our channel. Taking in objective feedback, constantly self-assessing, and trying to make the next video even 1% better has...
Pedagogy - Daniel Grabois
My name is Daniel Grabois, and I am the new editor of the Pedagogy Column for Horn and More. I would like to congratulate Ab Koster on his six years of service providing this column. These are big shoes to fill!
I have been teaching horn for 33 years, in addition to performing. I am now the horn professor at the University of Wisconsin-Madison where I began teaching in 2011 upon the retirement of Douglas Hill (more big shoes!). Before teaching at UW, I spent many years teaching at The Hartt School and at Princeton University, and I chaired the Contemporary Performance Program at the Manhattan School of Music as well.
As a performer, I’ve been a member of the Meridian Arts Ensemble (brass quintet) since 1989. I was also an active freelancer in New York City from 1989 to 2011, playing chamber music, orchestra, ballet, opera, new music, Broadway shows, jazz, rock....
As a freelancer, every day is different: different music, different colleagues, different conductors, different situations. The common element is that you sit down and play the music that is put in front of you—and that can mean sight reading on the job.
What I have discovered in my teaching (and through my own self-study) is that we need to sight read music very differently from how we read written words (and most people can “sight read” a passage in a book without needing to explain that “I’m just sight reading here—I might make a mistake”). When we first learn to read, our...
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