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From Richard Chenoweth's January 2012 Amazon review of Terry John's book Letters from Lines and Spaces: Musicians live a life of contrasts: on one hand, while they spend hours in [...]

Chamber music can be a valuable supplement to an orchestral career. Adding to infrequent orchestral horn section openings, our current horn pedagogy encourages the most talented horn students to spend [...]

Part I (May 2012) traced the career and influences of the prominent horn player and teacher Arthur Berv, as well as some of the musical contributions and related anecdotes about [...]

The level of proficiency of orchestral and solo in horn-playing is accelerating at a rapid pace due to the construction of world-class instruments, highly effective pedagogy, and the dissemination of [...]

In this period of economic uncertainty, musicians are increasingly seeking new ways to create income and performance opportunities. Although a traditional education as an orchestral or ensemble performer likely includes [...]

Many past issues of The Horn Call have contained articles that address the business aspects of playing the horn, including the excellent series by John Cox on strategies involved in [...]

Gustav Mahler (1860-1911) composed his Symphony No. 5 between 1901 and 1903, mostly during his summers at his villa in Maiernigg, a lake side village in Austria. While resting from [...]

This past year in the orchestral world has seen the trials of the musicians of the Detroit Symphony and their long-term negotiations to preserve their artistic quality and level of [...]

Now that the public is familiar with bank ATM machines and other computerized dispensing machines, access control systems have come into their own. Instead of using a key to unlock [...]

Mozart's opera Le nozze di Figaro (The Marriage of Figaro) should be on the horn player's list of essential operatic excerpts. The opera is performed often by companies of various [...]

Felix Mendelssohn (1809-1847) composed the Overture to A Midsummer Night's Dream, Op. 21 when he was seventeen years old, as a result of his fascination with the works of William [...]

When he was swept away in the wild night of revelry and rioting that followed the Canadiens' winning of the 1993 Stanley Cup, Montreal Gazette reporter Aaron Derfel was on [...]

An interview with Terry John, a musician and author of the book "Letters From Lines and Spaces," is presented. John discusses how he started in the performance field in London, England. He mentions some of the music and musical artists who influenced his career including Royal Academy professor Barry Tuckwell and jazz musician Andre Previn. He also offers his views on the relationship between the arts and some of the critical issues facing the society.

The article discusses how chamber music can be a valuable supplement to an orchestral career. It offers information on opportunities for horn players to engage in artistically satisfying performances. The advantages for horn players of playing chamber music are highlighted. The article also presents two works by composer Ludwig van Beethoven that are satisfying to play and provide collaboration with a unique combination of instruments.

The article discusses the first part on the legacy of the Berv brothers Arthur, Harry and Jack, focusing on reflections on Arthur's orchestral performance, teaching and traditions. It notes that the brothers were a dominant figure in the 1930s to the 1970s in establishing the orchestral horn style, tone concepts and professional standards now prevalent in orchestras. It talks about Arthur's student days, his career and recordings, and traditions in the performance of orchestral repertoire.

The article presents the perceptions and comments of Jennifer Montone, principal horn of the Philadelphia Orchestra, about performing Anton Bruckner's "Symphony No. 4." Also known as "The Romantic," the symphony received a fairly positive reception at its premiere and has since remained in the common orchestral repertoire. Montone describes some of the personal instincts that she experiences when playing the piece.

The article explores three categories in which the off-stage horn has been used as a musical device. The use of the horn as a signaling instrument of the hunt is discussed with reference to several operas including Richard Wagner's "Tristan und Isolde," Giuseppe Verdi's "Don Carlo," and "Fallstaff." Its extra musical functions are described including its use as an equal partner in the drama. Also examined are the three main issues facing the off-stage musician such as pitch, tone/distance, and ensemble rhythm.

The article features orchestral players and their opinions and suggestions on orchestral etiquette for new players. They include Paul Austin of Grand Rapids Symphony, Herbert Winslow of the Minnesota Orchestra, William Barnewitz of Milwaukee Symphony and Santa Fe Opera, James Wilson of Utah Symphony, Jack Gardner of Louisiana Philharmonic and Santa Fe Opera, Juliann Welch of Louisiana Philharmonic and Richard Chenoweth of Dayton Philharmonic Orchestra and Santa Fe Opera.

An interview with Karl Pituch, principal horn of the Detroit Symphony, is presented. Pituch talks about performing Gustav Mahler's "Symphony No. 5." He discusses the programmatic elements in the symphony and the mood created in playing the movements of the piece. He also offers suggestions for specific passages in the symphony with attention to dynamic markings, tempo variations, melodies, articulation and movements.

The article discusses news and notes related to orchestral music. It highlights the challenges confronting the orchestral world, including financial debt, cost-reductions, the condition called mal-employment, and hesitation among young students to a pursue a career in music. It also features an interview with jazz hornist Tom Varner, who talked about his early training, his major career influences, and how he became interested in jazz.

The article presents information on Gustav Mahler's Symphony No.9. Written between 1909 and 1911, the said symphony became one of his most discussed and popular symphonic works. It is sometimes referred to as his "Farewell" symphony because he wrote it while already aware of his own fatal heart disease. According to Elizabeth Freimuth, principal hornist of the Cincinnati Symphony, this work is more complicated and emotional because he was placing his own impending death into the music.