I suggest that you try brasswinds BUT call on the day you go to see what in
fact they have that day, also make sure what they have is playable, as once
we got there a a few of the horns even new ones needed oil etc. so much that
we could not play them enough to get a fair idea of how the horn really was.
dan busta  good luck. ps call a guy named Paul Navarro up in Evanston, he
often has a million horns floating around

Richard_Burdick wrote:

> As usual I am searching for music for a particular ensemble in
> preparation for a concert.
>
> The group is Natural horn quartets.
>
> I know of three pieces by Bedrick Weber, and the quartets of
> Dauprat, Gallay and Rossini.
>
> What else is there?

Tbanks for asking.

Last year I happen to have composed such a quartet, _Fantasia on the
Garden Song_.  (The Garden Song is that famous 1975 tune by David
Mallet.)  It is for four natural horns in Bb alto, F, F, and Bb basso,
duration about 3:50.  It is realistically playable on natural
horn. [*]

I would be most happy if you or anyone else would consider performing
it.  I can supply a tif file of the score, a MIDI file (which sounds
good or bad depending on the quality of your sound card), an MP3 of a
`good' [**] MIDI performance, or a Noteworthy Composer score file.  If
anyone is extremely interested I could even snail mail a printed score
and an audio cdrom of that synthesized MIDI performance.

Steven M. Haflich <smh@...>

[*] The high Bb part is not extraordinarily difficult, but few mortals
can play all the way through the low Bb part without drowning.

[**] If a MIDI performance could really ever be classified as "good"
we'd all be begging for quarters on street corners...

BTW, the opening quartet from the overture to Der Freischutz is scored
for natural horns (C,C,F,F), is self contained, and therefore could be
extracted effectively for concert performance.

>Here is some information regarding upcoming openings
>for those of you who may be interested:
>
>
>Jon thinks it would be a good idea for anyone
>interested to send a tape to him with their address
>and phone number so he can get a hold of them. He says
>then they don't have to spend the $$ on getting out
>there and he can send the tape around the different
>orchestras also-since their is an opening in the UNAM
>and Nacional.

Hi Hans (and everyone else,)

I'll post this to the list, because other people might be interested as
well...

Just to clear up my confusion...these are full time jobs, right?  I recall
hearing that the orchestra in Mexico City was roughly comprable to the 'B'
level orchestras in the United States.  Is that correct?  Thanks for the
info!  (I'm heading toward my Thompson collection right now...when was the
last time I saw "Les Preludes," on an audition?)

Tom Wheeler

Sometimes you're a Louisville Slugger
Sometimes you're the ball.
         -Dire Straits

_________________________________________________________________
Send and receive Hotmail on your mobile device: http://mobile.msn.com

In a message dated 4/11/2002 5:07:56 PM Central America Standard Tim,
richBurdick@... writes:


> Greetings hornists,
>
> As usual I am searching for music for a particular ensemble in
> preparation for a concert.
>
> The group is Natural horn quartets.
>
> I know of three pieces by Bedrick Weber,  and the quartets of
> Dauprat, Gallay and Rossini.
>
> What else is there?
>
> Richard Burdick

Hi Richard,

You didn't mention the degree of difficulty or purpose
(wedding, funeral, back yard, etc.)  so here is a mixed
bag.

Trumpet Voluntary - Clarke - Medici Music Press
        Requires lots of hand technique.
Water music - Handel (arranged by Marv McCoy) McCoy's Hn Lib.
        Some hand technique.
Three Hunting Songs - (arranged by Marv McCoy) McCoy Hn Lib.
        Lots of stopped notes.....may not be appropriate.
Three Q'tets for 4 Horns - Crussel - The Hornists Nest
        Very little hand work but lots of notes.
6 Pieces for 4 Horns - Richter - Hornists Nest
        Hand horn'ish and do'able.

There is some music for 4 alphorns.  It's limited range
music with no hand technique required.  Marv McCoy
would be a good source.

Hope this helps.
(BTW, I enjoyed your CD.)

Regards,    Jerry in Kansas City


[Non-text portions of this message have been removed]

> In a message dated 4/11/2002 5:07:56 PM Central America Standard Tim,
> richBurdick@... writes:
>
>
>> Greetings hornists,
>>
>> As usual I am searching for music for a particular ensemble in
>> preparation for a concert.
>>
>> The group is Natural horn quartets.
>>
>> I know of three pieces by Bedrick Weber,  and the quartets of
>> Dauprat, Gallay and Rossini.
>>
>> What else is there?
>>
>> Richard Burdick
>
> Hi Richard,
>
> You didn't mention the degree of difficulty or purpose
> (wedding, funeral, back yard, etc.)  so here is a mixed
> bag.
>
> Trumpet Voluntary - Clarke - Medici Music Press
> Requires lots of hand technique.
> Water music - Handel (arranged by Marv McCoy) McCoy's Hn Lib.
> Some hand technique.
> Three Hunting Songs - (arranged by Marv McCoy) McCoy Hn Lib.
> Lots of stopped notes.....may not be appropriate.
> Three Q'tets for 4 Horns - Crussel - The Hornists Nest
> Very little hand work but lots of notes.
> 6 Pieces for 4 Horns - Richter - Hornists Nest
> Hand horn'ish and do'able.
>
> There is some music for 4 alphorns.  It's limited range
> music with no hand technique required.  Marv McCoy
> would be a good source.
>
> Hope this helps.
> (BTW, I enjoyed your CD.)
>
> Regards,    Jerry in Kansas City
>
>
> [Non-text portions of this message have been removed]
>
>
>
>
> Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
>
>
Also consider the old stand by's Weber's Hunt choruses from 'Der
Freischuetz' and "Eurianthe' . In each the original score included the 4
waldhorns and bass trombone. When we played it on waldhorns we tracscribed
the bass trombone part into a fifth horn part with some noted added to the
third horn. Also the f solo horn parts from Mozart's serenade Kv 131 can be
pieced together into a nice quartet. Regards.
--

Hi,

Have any list members used the Yamaha silent brass system? Some of my family
members have finally run out of patience...... :(



Tom

UK




[Non-text portions of this message have been removed]

I bought one for use on those days when I couldn't practice during the day
and didn't get home until midnight.  For that and for all those times when
you need to practice at unsociable hours it is invaluable and I would not be
without it.  I use it maybe five times a year, maybe less.

Otherwise I leave it in the box.

It offers a great deal of resistance, very unlike even normal mute playing
and the response from the earphones is not really anything like real life.
By turning up the volume you can make it sound loud when you are playing
quietly and vice versa - you need to use the control sensibly. It certainly
isn't like playing your horn normally - I see it as an emergency measure, not
something I would like to use every day.

I live alone in a terraced house with very thin walls - that is why I have a
silent mute.

If I lived with a family in a house with thick walls I would buy earplugs for
my family or teach them to learn their place. (Maybe this is why I'm alone?)
:-)

All the best,

Lawrence



http://lawrenceyates.co.uk


[Non-text portions of this message have been removed]

I bought the Silent Brass about 6 months ago and like it.  While it
isn't good for every practice session, it is good to use every once
in awhile.  There is some sound delay, but you just have to play with
the levels of the feedback to lessen it.  The resistance is similar
to that of playing with a stop mute (not your hand.)  Like I said,
its good for occasional practice, but not something to use all the
time as you don't get a great picture of what you acutally sound like.

Hi Richard and hornlorn

The Bedrich Dionys Weber quartets are, reputedly the first valve quartets as
borne out by the fourth book which calls for low skills available only with a
ventil-maschine. The upper parts could be easily played on valveless horns,
however.

Try the quartets by Richter, Crusell, Haydn (Frankie-joe, not Micky), Molter,
and harder to obtain, R Goldfaden (2nd horn in Charlotte Symphony), and that
enigmatic Italian gent, Giorgio di Arrezzo (address unknown).

If you are interested, I'll send to you, for the most modest of all possible
fees, my own transcriptions of Christmas carols for natural horns in
different, but not neccesarily incompatible keys! I even have (!) Gospel
songs for the natch 4tet (imagine the bass line of Wonderful Grace of Jesus
played on a Bb basso crook ; the things that get done for Sunday night church
gigs!) I don't believe that the congregation prefered the natch 4tet over the
mighty Wurlitzer, but the people with the valveless horns had both a hoot and
a toot! All of these transcriptions are very difficult to execute because of
the need for voice crossings. Be prepared for some raw sounds!

Thrills and trills

L Greer (dah Perfesser)


[Non-text portions of this message have been removed]

Sorry I just sent that message to Steve Haflich to the list - my apologies.

Keith M. Johnson
Professor of Horn
The University of Arizona

http://www.arts.arizona.edu/horn

--- In horn@y..., "tom-jill" <tom-jill@n...> wrote:
> Have any list members used the Yamaha silent brass system? Some of
my family members have finally run out of patience...... :(
>

I've used mine quite a bit. Obviously, it is different than playing
open horn, with quite a bit more blowing resistance. My biggest
complaint though is the extra few moments of plugging in and getting
the wires, earphones, etc. comfortably adjusted. I've gotten used to
the difference in blowing, and actually enjoy practicing with the
mute. A colleague of mine likes his too, but doesn't bother plugging
it in, just plays without the amplification (and without the wires!).
Can't hardly hear it, but that doesn't seem to bother him.
There's a used one listed on half.com for a good price, unless
somebody bought it already.

da udder perfesser

FORWARDING THIS MESSAGE TO HORN PLAYERS:

   I need to sell my descant horn in order to pay my taxes.  You
may remember it - the extra large bore Paxman with the open F and
compensating valves.  Even registers, flexible in range, intonation and
tone production.  Still in excellent condition.

I would call this horn a Bb & High F double horn with F extension and
stopping valve.

IF INTERESTED CONTACT: RON RANDALL  raferron@...

RIchard Burdick

Steve, I would love a set of parts and the recording.  Snail Mail is good
- take your time, but know I (we) appreciate this. Let me know how much I
owe you.

send to me at

Horn Studio
School of Music and Dance
The University of Arizona
Tucson, AZ 85721

Keith M. Johnson
Professor of Horn
The University of Arizona

http://www.arts.arizona.edu/horn

Hello Tom,

These are full time positions. The Nacional plays in
Bellas Artes (center of town), OFUNAM in the Jaffe
hall (like Berlin Philharmonie) in Centro Cultural
near San Angel in the south of Mexico City. The Mexico
City Philharmonic ([O]FCM) plays in the far south in
Tlalpan in the Ollin Yolitzly (Sala Revueltas) (Jorge
Mester, dir.).

All three have strengths and weaknesses. One sure
would play a lot more than in most US orchestra and
basically NO POPS.

Please feel free to post all the info in the other
horn list. Thanks for the questions.

Hans Clebsch
www.clebschstrap.com

Message: 3
    Date: Fri, 12 Apr 2002 08:33:33 -0400
    From: "Thomas Wheeler" <froghorn76@...>
Subject: Mexico City Jobs


>Here is some information regarding upcoming openings
>for those of you who may be interested:
>
>
>Jon thinks it would be a good idea for anyone
>interested to send a tape to him with their address
>and phone number so he can get a hold of them. He
says
>then they don't have to spend the $$ on getting out
>there and he can send the tape around the different
>orchestras also-since their is an opening in the UNAM
>and Nacional.

Hi Hans (and everyone else,)

I'll post this to the list, because other people might
be interested as
well...

Just to clear up my confusion...these are full time
jobs, right?  I
recall
hearing that the orchestra in Mexico City was roughly
comprable to the
'B'
level orchestras in the United States.  Is that
correct?  Thanks for
the
info!  (I'm heading toward my Thompson collection
right now...when was
the
last time I saw "Les Preludes," on an audition?)

Tom Wheeler

Sometimes you're a Louisville Slugger
Sometimes you're the ball.
         -Dire Straits



__________________________________________________
Do You Yahoo!?
Yahoo! Tax Center - online filing with TurboTax
http://taxes.yahoo.com/

Hi Richard

Charles Koechlin wrote 2 quartets for natural horns which are interesting
and fun to play. They're from his 15 pieces, Bk 3, published by Billaudot
Editions. One was Allegro and the other Moderato or something similar. I
haven't got them in front of me at the moment so can't give the names of
them. I got the music through Robert King. (www.rkingmusic.com) and I see
they're still listed there. We played one in a concert using valve horns
for horn in D, and so held down 3rd valve, but I'm sure they would sound
better on natural horns.  Years ago Barry Tuckwell made a good recording
of a number of Koechlin pieces.

Good luck,
Jim Scrivener
-------------------------
Richard Burdick wrote
>Greetings hornists,
>
>As usual I am searching for music for a particular ensemble in
>preparation for a concert.
>
>The group is Natural horn quartets.
>
>I know of three pieces by Bedrick Weber,  and the quartets of
>Dauprat, Gallay and Rossini.
>
>What else is there?

Jim Scrivener wrote:
>Charles Koechlin wrote 2 quartets for natural horns which are
>interesting and fun to play. They're from his 15 pieces, Bk 3,
>published by Billaudot Editions. One was Allegro and the other
>Moderato or something similar. I haven't got them in front of
>me at the moment so can't give the names of them. I got the
>music through Robert King.

Unfortunately, King tends to have very high prices on the French import
titles.  In this case of the Koechlin work, they are charging $15.00,
plus $3.50 for ground shipping, for a title we sell at $11.50, plus
$3.00 for air shipping.  So, if anyone is interested in this or any
other European import publication, I would encourage you to contact us
by email for a price quote.


David B. Thompson, President
Thompson Edition, Inc.

http://www.thompsonedition.com

Hi Folks

I just wanted to remind everyone that, like London, Mexico City has several
orchestras. Being the largest City in the world and growing, it requires
enough ensembles to bring culture to its residents. At my last count they
included the OFCM, or Mexico City Philharmonic (my old band), The National
Symphony, The orchestra at Bellas Artes (ballet and opera), the OFUNAM or
University Orchestra (fully professional full time employment), the Juventud
or "Youth" orchestra (also full time and filled with older players), and the
Mineria orchestra. There is also significant Chamber orchestra and a Baroque
orchestra on "original instruments", although I am unsure how much work they
do. (In such ensembles, the full time effort is usually made by strings,
oboes, flute, and harpsichord only, with the "color" instruments such as
natural brass being imported.) Also, includable in the Mexico City region is
the OSEM or Toluca orchestra.

The OFCM and OSEM are both well recorded on commercial CDs available in the
US, and interested parties can ascertain the levels of the ensembles for
themselves. On tours of the US and Europe, these ensembles have been
compared, favorably, to the finest international ensembles. They are not
filled with sombrero wearing "borachos" recently risen from a nap under a
cactus plant. Most Mexican musicians have studied abroad and perform very
capably, if not brilliantly.

Often the waters of reputation have become muddied by discontented "gringo"
musicians who couldn't wait to give negative commentary on the Mexican
experience after being "unhired". All foreign players are expected to
perform, convincingly, at a high level consistently, and to behave in a
courteous manner toward all of their collegues. If they do not, they are
gently told nothing, unhired, and must find other employment. Not being
confronted by their employers about a deficiency seems unfair to the gringo
mind, often, but is the norm there. A player from the US will find tremendous
opportunity there, much more so than in our own country. The OFCM has some
players, by the way who played, left to take jobs in other parts of the
world, and have returned to the orchestra to resume what was a very happy
employment situation (if one is at the start of a carreer, there is no basis
for any comparison.)

Contractual matters are, both, left loosely described and contain perks that
are not encountered in the US. I played for a long time with no contract, and
was not only paid, but received 3 raises during that period. Also, there are
13 months of pay in Mexico! The orchestra had health insurance but I never
used it; anytime I felt ill, the doctor came to my apartment to examin me,
and gave me the medications. Pretty nice. The payment for tours is
substantial, especially considering that almost all costs are paid by the
orchestra. Food was left at the account of the player, but there was often a
"cena" given by the host after the concert, featuring the local specialty. I
was never hungry in Mexico.

I see no reason that any player seeking a good orchestral post should not
look toward Mexico; it is a stable government by even our standards, they
have been an  excellent neighbor to the US (far better than we have been to
them!), the nationals are culturally more aware than the average US resident,
and the arts are prioritized in the mind of most Mexicans, who eagerly show
their support. I remember, while walking a distance of 3 blocks in Mexico,
that cars filled with Mexican people stopped no less than 17 times, with the
occupants of the vehicle exiting the car in order to thank and congratulate
me on my role in a concert (Tchaik 5). Another time, I was carried to my
apartment on the shoulders of well-wishers after a Haydn concerto performance
(chanting Lowellcito, Lowellcito...) As I am a big man, their load was not
light!

Que tengan buena suerte, todos

Lowell Greer


[Non-text portions of this message have been removed]

Might be of interest to you.

All the best

Klaus

----------
>From: bnbtoledo@...
>To: horn@yahoogroups.com
>Subject: [horn] Re: "the Mexico City Orchestra"
>Date: lør 13. apr 2002 16:34
>

> Hi Folks
>
> I just wanted to remind everyone that, like London, Mexico City has several
> orchestras. Being the largest City in the world and growing, it requires
> enough ensembles to bring culture to its residents. At my last count they
> included the OFCM, or Mexico City Philharmonic (my old band), The National
> Symphony, The orchestra at Bellas Artes (ballet and opera), the OFUNAM or
> University Orchestra (fully professional full time employment), the Juventud
> or "Youth" orchestra (also full time and filled with older players), and the
> Mineria orchestra. There is also significant Chamber orchestra and a Baroque
> orchestra on "original instruments", although I am unsure how much work they
> do. (In such ensembles, the full time effort is usually made by strings,
> oboes, flute, and harpsichord only, with the "color" instruments such as
> natural brass being imported.) Also, includable in the Mexico City region is
> the OSEM or Toluca orchestra.
>
> The OFCM and OSEM are both well recorded on commercial CDs available in the
> US, and interested parties can ascertain the levels of the ensembles for
> themselves. On tours of the US and Europe, these ensembles have been
> compared, favorably, to the finest international ensembles. They are not
> filled with sombrero wearing "borachos" recently risen from a nap under a
> cactus plant. Most Mexican musicians have studied abroad and perform very
> capably, if not brilliantly.
>
> Often the waters of reputation have become muddied by discontented "gringo"
> musicians who couldn't wait to give negative commentary on the Mexican
> experience after being "unhired". All foreign players are expected to
> perform, convincingly, at a high level consistently, and to behave in a
> courteous manner toward all of their collegues. If they do not, they are
> gently told nothing, unhired, and must find other employment. Not being
> confronted by their employers about a deficiency seems unfair to the gringo
> mind, often, but is the norm there. A player from the US will find tremendous
> opportunity there, much more so than in our own country. The OFCM has some
> players, by the way who played, left to take jobs in other parts of the
> world, and have returned to the orchestra to resume what was a very happy
> employment situation (if one is at the start of a carreer, there is no basis
> for any comparison.)
>
> Contractual matters are, both, left loosely described and contain perks that
> are not encountered in the US. I played for a long time with no contract, and
> was not only paid, but received 3 raises during that period. Also, there are
> 13 months of pay in Mexico! The orchestra had health insurance but I never
> used it; anytime I felt ill, the doctor came to my apartment to examin me,
> and gave me the medications. Pretty nice. The payment for tours is
> substantial, especially considering that almost all costs are paid by the
> orchestra. Food was left at the account of the player, but there was often a
> "cena" given by the host after the concert, featuring the local specialty. I
> was never hungry in Mexico.
>
> I see no reason that any player seeking a good orchestral post should not
> look toward Mexico; it is a stable government by even our standards, they
> have been an  excellent neighbor to the US (far better than we have been to
> them!), the nationals are culturally more aware than the average US resident,
> and the arts are prioritized in the mind of most Mexicans, who eagerly show
> their support. I remember, while walking a distance of 3 blocks in Mexico,
> that cars filled with Mexican people stopped no less than 17 times, with the
> occupants of the vehicle exiting the car in order to thank and congratulate
> me on my role in a concert (Tchaik 5). Another time, I was carried to my
> apartment on the shoulders of well-wishers after a Haydn concerto performance
> (chanting Lowellcito, Lowellcito...) As I am a big man, their load was not
> light!
>
> Que tengan buena suerte, todos
>
> Lowell Greer
>
>
> [Non-text portions of this message have been removed]
>
>
>
>
> Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
>
>

Sorry for the odd reposting. But I found this posing so interesting, that I
wanted to let a tuba friend read it. Only not changing the address.

Sorry!

Klaus

How long ago did you play in Mexico?

Not to mention that they may actually charge you for more than you agree to
pay.  Orders over $40 have to be shipped via UPS, which means an added cost
to shipping.  Unfortunately, they don't tell you this until AFTER you've
placed your order.

They also took 6 months, due to back order, to ship Schumann's Adagio and
Allegro.  Not really a big deal if I had more than 1$ in the bank account
they charged when they shipped.

Chris



----- Original Message -----
From: "David B. Thompson" <te@...>
To: <horn@yahoogroups.com>
Sent: Saturday, April 13, 2002 9:29 AM
Subject: RE: [horn] Re: Natural horn Quartets


> Jim Scrivener wrote:
> >Charles Koechlin wrote 2 quartets for natural horns which are
> >interesting and fun to play. They're from his 15 pieces, Bk 3,
> >published by Billaudot Editions. One was Allegro and the other
> >Moderato or something similar. I haven't got them in front of
> >me at the moment so can't give the names of them. I got the
> >music through Robert King.
>
> Unfortunately, King tends to have very high prices on the French import
> titles.  In this case of the Koechlin work, they are charging $15.00,
> plus $3.50 for ground shipping, for a title we sell at $11.50, plus
> $3.00 for air shipping.  So, if anyone is interested in this or any
> other European import publication, I would encourage you to contact us
> by email for a price quote.
>
>
> David B. Thompson, President
> Thompson Edition, Inc.
>
> http://www.thompsonedition.com
>
>
>
>
>
>
> Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
>
>

Lowell Greer wrote:
>Also, there are 13 months of pay in Mexico!

Ah, we can top that, Lowell.  Here, strangely, our salary is actually
paid in 16 "months", which never ceases to confuse our new hires
unfamiliar with the system.  They tend to be especially concerned since
in their first year they don't collect much in those extra months,
because those bonus payments accrue from the previous year...


David B. Thompson
Solo Horn, Barcelona Symphony Orchestra
...and feeling pretty drained after our second Mahler 3 tonight, with
another tomorrow morning.  I am not sure that there is any work in the
symphonic repertoire which I find takes more long-term energy and
concentration.

From: "David B. Thompson" <te@...>

    ...and feeling pretty drained after our second Mahler 3 tonight, with
    another tomorrow morning.  I am not sure that there is any work in the
    symphonic repertoire which I find takes more long-term energy and
    concentration.

Several of the Tsaikowsky symphonies take more long-term energy than
Mahler 3, but fortunately require no concentration whatever.

Try a concert that starts with William Tell, ends with 1812 (with actual
artillery) (an outdoors concert obviously), Mozart 3rd Horn Concerto and the
Hovhannes "Artik" or Horn & Strings stuck in the middle.  Now THAT will tire
you out!.. I know1 I've done it.  At the end of the concert I made to mistake
of standing and taking a bow with the rest of the orchestra and came too
close to falling flat on my face.  If they'd asked me to play a concert A as
an encore, I couldn't have done it.
        But I agree, Mahler isn't exactly child's play!

David Berry
davidb240@...



[Non-text portions of this message have been removed]

Howdy

The Koechlin pieces mentioned are specifically written for the
Trompe-de-Chasse, or hunting horn which has less in common with classical
handhorns and the viennese hunting horns than one might suppose. Tuckwells
recording was done on a Holton "handhorn" which is a well built and highly
polished single Bb horn with snappy tuning slide crooks; an impressive bit of
horn-building, but without any reference to the historical dimensions which
make up a natural horn, and nothing at all like a Trompe de Chasse. The
performance is well played and well recorded, but Mr Tuckwell may as well
have used a cordovox as far as achieving the composers intentions goes.
Koechlin was an auto-didact on the Trompe late in his life, deriving great
pleasure from the activity. He was very specific in his designation of the
Trompe, but hey, he's not around to bust anyone today.

All perfectionist's goals put aside, these pieces may be played on valveless
horns like the model used by Tuckwell, as may all of the Trompe-de-chasse
literature, which includes the Fanfare de Chasse by Rossini, cited earlier as
hand horn literature. A wealth of this sort of literature may be gotten from
Leduc. Try the Methode of Tyndare-Gruyer and the two volumes of the books by
Sombrun, both of which are filled not only with the standard fanfares for the
Trompe, but many four and five part Fanfares de Circonstance. Some of the
most famous are la Grand Fanfare, les Echoes des Alpes, and la Moulin de la
Vierge.

Trompes de Chasse are easily available today, being made by Perinet,
Couesnon, and other makers in France. One often sees them in music store
windows in Paris. The membership ( back in 1983) of the Societe for Trompe
players in France alone eclipsed the membership of the IHS world-wide; an
interesting fact, don't you agree? Steps are being taken to arrange the
importation of Trompes to the US.

dah Perfesser


[Non-text portions of this message have been removed]

David B. Thompson wrote
>> Unfortunately, King tends to have very high prices on the French import
>> titles. .....
Chris Tedesco wrote
>Not to mention that they may actually charge you for more than you agree to
>pay. .....

My apologies to David and Chris - it wasn't my intention to put in a plug
for any particular music retailer, thus starting a different thread ... I
was naively trying to be helpful. I agree with both of you in your
comments - with King, it can be a lottery as to what arrives when, and
what you pay for it, but out here in New Zealand where the air mail
charges are going to be at least that of the music, I expect that. While
we're at it, I have had good service from the above-mentioned and
Thompson Edition Inc, and with the latter you have the bonus of being
able to email a knowledgeable person for advice before choosing music
from a catalogue. ;-) (Not to mention better prices for European items.)

Back to Koechlin - the 2 hn quartets for natural horn from from his 15
pieces, Bk 3 - the music is written for the open harmonics of the horn
only, so no (natural horn) hand technique is required.

Cheers, Jim Scrivener
(who should know better than replying to the first [horn]list he has read
in 2 years).

Hello

I was asked how long ago I played in Mexico. The answer would be from 1978 to
1980.  I subsequently married a Dutch lady doctor who wished to do an
American hospital residence. I returned several times to Mexico as soloist
during the next 15 years, catching up with friends on things there. I have
several former pupils playing in orchestras there, enjoying the cultural
climate. While there may be a few things that have changed for musicians in
Mexico, the basic attitude of the people and governmental agencies for the
arts are fundamentally unchanged. The number of pesos earned per year may
have changed, but the ratio of musicians salaries to the per capita annual
salary remains strong; they love their culture down there.

I hope this information helps folks considering southerly career moves.

L Greer


[Non-text portions of this message have been removed]

From: "Steve Haflich" <smh@...>
>
> Several of the Tsaikowsky symphonies take more long-term energy than
> Mahler 3, but fortunately require no concentration whatever.

With that attitude, I look forward to hearing how you feel when, one day,
you stuff up the opening of Tchaik 4!!

Cheers,

Graeme Evans
(Principal Horn, Melbourne Symphony Orchestra)
+61 3 96824000(H), +61 419 880371(B), +61 3 96822004(Fax)
E-mail: gevans@...

Does anyone know what kind of triple horn John Cerminaro plays? Is it
the same kind Philip Myers plays (a Schmid triple)? And does anyone feel
strongly pro or con about the use of triple horns? Thanks, Andy.

It's a Finke.


Chris
----- Original Message -----
From: <Andy_2003@...>
To: <horn@yahoogroups.com>
Sent: Sunday, April 14, 2002 12:28 PM
Subject: [horn] triple horns


> Does anyone know what kind of triple horn John Cerminaro plays? Is it
> the same kind Philip Myers plays (a Schmid triple)? And does anyone feel
> strongly pro or con about the use of triple horns? Thanks, Andy.
>
>
>
>
>
> Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
>
>