"The Collected Works of Douglas Hill" in Online Music Sales
The IHS Online Music Sales is proud to announce the launch a new series of publications titled “The Collected Works of Douglas Hill.” Professor Hill is a Past President and Honorary Member of the International Horn Society, and is Emeritus Professor of Music-Horn at the University of Wisconsin-Madison (1974- 2011). He has composed extensively for horn as well has written numerous well-respected texts on horn pedagogy and technique.The IHS will be releasing several titles every month. The first four titles are listed below and can be found here.
A Set of Songs and Dances (for clarinet, horn, percussion, bass)
Five Little Songs and Dances (for solo horn)
Scenes from Sand County (for WW5, violin, viola, cello, and bass)
Low Range for the Horn Player
New Advisory Council Members and Officers
Advisory Council members: elected by the general membership were Nobuaki Fukukawa (second term), Amy Thakurdas (first term), and Geoffrey Winter (third term); elected to three-year terms by the Advisory Council were Annie Bosler (first term), and Justin Sharp (first term); elected to a two-year term by the Advisory Council was Jeffrey Snedeker (third term).
Jeffrey Snedeker was elected President of the International Horn Society. Kristina Mascher was elected Vice-President, and Annie Bosler was elected to the Secretary/Treasurer position.
Statement on HR Amendment #48
To the International Horn Society and musicians everywhere,
Recently, some attention has been drawn to a bill that has passed the US House of Representatives and is currently being discussed in the US Senate. I have read the text of the proposed HR Amendment #48, found in H.Amdt 1218 to H.R. 5293 for the National Defense Authorization Act of 2017. On the surface, the actions suggested in this bill may seem like logical cost-saving measures, but after reading the bill and thinking about its ramifications, I believe this bill has the potential for grave consequences for musical groups in the US armed services. These groups are an important part of our history and culture. In a nutshell, this amendment “limits their ability to play in social functions, dances, and things that are really outside their core competencies and the competencies of the military.” I believe any restriction of the exposure to the public or preventing direct public interaction of these ensembles would constitute a significant cultural loss, a loss of some of the best expression of patriotism and artistry America has to offer. Anyone who has heard one of our military groups knows that performing music at social functions, etc. is well within their “core competencies”—indeed, the US armed forces are blessed with some of the finest musicians in the world.
Military music existed in this country before the Revolutionary War and even at that time was an important contributor to soldier and citizen morale and respite, establishing a strong connection between armed forces and the general citizenry. Music serves to unite communities, and military musical groups, more than any other musical ensemble, unite our country at home and provide similar comfort to American soldiers and their families overseas. They also provide opportunities for talented individuals to express their patriotism in artistic ways. Preventing performances that maintain the military’s connection and trust of the American public would seem to go against this proud expression of patriotism and the founding inclusive principles of our country.
I also believe passing this bill would establish a convenient path to even more cuts and unintended ramifications, which would further compromise the artistic quality, personal investment, and the relationship between the military and the general public. In context of the total defense budget, the amount of money it might save does not seem to warrant the devastating potential effect it could have.
Please encourage your senators to vote against any amendments, motions, or bills which would restrict the use of funding to military bands. To read the text of this bill, look for Rep. McSally’s justification for Amendment 48 in the text of the following:
To contact your US Senator, http://www.senate.gov/senators/contact/
President, International Horn Society
"New" Mozart Concerto in OMS
Around 1786, Mozart began work on a new horn concerto in E major, presumably for his friend Joseph Leutgeb. After 91 bars of orchestral exposition and a brief entrance of the horn solo, he abandoned the work, leaving us what is now cataloged as K. 494a. Some have suggested this might have been Mozart's greatest concerto had he finished it, as the orchestral flourish introduces a grandiose construction of melody and counterpoint, unlike any of Mozart's other horn concertos. This reconstruction and completion, done by Anders Muskens in 2015, builds on the fragment and adds new themes in order to realize an entire movement.
Two New Works in OMS
A Sailing Sextet, written for the Eastern Kentucky University horn studio, features a series of interweaving melodies and an abundance of rhythmic energy. The underlying diatonic harmony of the work is colored with a healthy mixture of whole tone and quartal sonorities. Composed in an ABA form, the lively opening section is contrasted by a slower, peaceful central section that features muted horns. The title is an allusion to the two stylistic influences for the piece, Debussy’s whole-tone piano prelude, Voiles (Sails), and Schonberg’s tone color exploration, Summer Morning by a Lake, from his Five Pieces for Orchestra, Op. 16.
Brave Wind is set for horn and field drum, taking advantage of the heroic sounds of each. The piece is also inspired by the wind of Ellensburg, Washington, which in the Spring is persistent and occasionally forceful and unpredictable. This commission was funded in part by the Meir Rimon Commissioning Assistance Program of the International Horn Society.