|If you don’t see this e-mail properly, view it online|
|Volume 1 Issue 6, July 2015|
We are looking forward to seeing you in Los Angeles for the 2015 International Horn Symposium, August 2-8, 2015! The web site: http://www.ihsla2015.com/ has the list of featured artists, a daily schedule and the current list of over 40 exhibitors. This is going to be an exciting and packed event, make sure to register now so we can all meet this summer. See you there!
Briser la chaîne
par Bruce Richards
"Think Different", célèbre slogan de Apple, a été et reste un symbole pour concevoir les choses différemment, et c'est ce que je voudrais que les artistes fassent. Peu importe la situation, examen, récital, concert, audition, ou concours, vous devez porter un nouveau regard sur votre préparation pour briser la chaîne des actions, des pensées ou des événements qui conduisent au trac.
Depuis quelques années, j'enseigne lors d'un nouveau stage d'été à Spa (Belgique): le “Stage International de Musique en Province de Liège."
En marge de l'enseignement normal, j'ai donné des masterclasses sur la respiration, mais au fil du temps, il apparaissait que les étudiants sollicitaient de plus en plus mon avis et mes conseils en rapport avec le trac. En tant que professeur de cor au Conservatoire Royal de Liège, j’ai rencontré de nombreux étudiants qui souhaitaient un coaching ou une aide en cette matière. La psychologie de la "prestation" semble eneffet être un aspect souvent négligé.
We are so excited! Our Major Commission Initiative has helped to fund a new work, "Fanfare for 16 Horns" by Bruce Broughton (Hollywood composer – soundtrack to Silverado, among many others). This will be a World Premiere at the Los Angeles Symposium on August 4 at the LA Philharmonic Hollywood Bowl concert, with an all-star line-up: John Cerminaro, Ethan Bearman, Amy Jo Rhine, Brian Drake, Kerry Turner, Geoffrey Winter, Charles Putnam, Kristina Mascher-Turner, Stefan de Leval Jezierski, Andrej Žust, Peter Luff, Jeff Nelsen, Robert Ward, Jonathan Ring, Bruce Roberts, Jessica Valeri. The Major Commission Initiative still needs donations to help with this type of project
Audition advice: Denise Tryon (Philadelphia Orchestra) and Karl Pituch (Detroit Symphony Orchestra)
Q: In Europe, horn students have traditionally chosen to focus on "high" or "low" horn and have prepared to take auditions exclusively for corresponding orchestra vacancies. Do you think this is a valid approach in today's job market? Or should young players try to do it all? What are the advantages/disadvantages in specializing?
Denise: I think it's wise to be as well rounded a player as possible, and therefore you are able to take both high and low auditions. This opens up so many more opportunities and you never know what might happen!
Karl: Also, most auditions now have both high and low register excerpts that we all have to learn – Shostakovich 5 is on almost every list, Till has the low register for a high horn and Beethoven 7 is pretty high for both. So you really need to learn the entire range of the horn. I started as a 4th horn and slowly moved my way through the section.
Q: When given the option of sending an audition recording for the preliminary round or making the journey to play live, is there an advantage to showing up personally?
Denise: I think playing live is the best option, if you are able to do it. In my experience, on both sides of the recording device and screen, it is much more challenging to advance with a recording.
Karl: Playing live is the best option. You can’t control where or how your recording will be heard. In the live audition, everyone will be listened to in an equal setting.
Q: How did you develop the concept of your workshop, Audition Mode?
Denise: When Karl and I would talk about our students and auditions, we realized there was no dedicated seminar/workshop to discuss the audition process and we wanted to change that. We made sure to have a dedicated high and low list. We also wanted to have everyone work on both lists and take both mock auditions at the end of the seminar (to refer back to your first question!). We wanted to incorporate some section playing as well, since most times you will need to play in the section in order. We also discuss preparation, performance anxiety and what to expect the day of the audition!
Thinking about auditions? Competing in the Frizelle Contest at the LA Symposium? Or just working out on some excerpts? Check out the Orchestral Horn Excerpts page on the IHS website, where you can see the music and hear sample clips from major orchestras. Members only will find additional video content about some works. Or, you could purchase the entire collection (hard copy) by going to:
Horn Buying for Dummies
(An objective guide to helping you find the horn of your dreams).
Anyone who has attended a regional horn workshop or one of the annual International Horn Symposiums knows that the moment you walk into the ‘BIG’ (aka - LOUD!) room you’ll be overwhelmed by the choices presented to you. You’re looking to buy a horn, perhaps your first double, or stepping up to a professional line instrument and you’re not quite certain how to go about it. Not only that, but if you talk to fellow players or look online you’ll get loads of advice - much of it conflicting. Add this together with the fact that anyone can hang a sign on their house and proclaim themselves a ‘horn maker’ and you realize that you should be as cautious and educated on the process as possible.
I’m here to help you sift through all of that. I’m not going to tell you which wrap is better (8D vs Geyer) or what alloy it should be made of (nickel vs brass/red brass) or which make is the best.. There are objective ways to judge the quality of a horn - how well it was put together. A horn that is poorly manufactured will eventually lose value quickly and will deteriorate equally as fast.
Looking for a new or used horn? Get yourself to the Los Angeles 2015 Symposium! There will be dozens of exhibitors there, with lots of horns to test, compare and take home. Check out the list of exhibitors.