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Report by Mark Louittit, March 2002
To report on Auditioning for Community Ensembles
The historic Boston Conservatory, just a few blocks from the famed Boston Red Sox Fenway Park, was the site of the Fifth Northeast Horn Workshop held March 15 - 17, 2002. Hosted by Marilyn Bone Kloss, Massachusetts Area Coordinator for the IHS, and David Ohanian, Professor of Horn at the Boston Conservatory, the workshop attracted some eighty five horn players from all over the Eastern United States, including Pennsylvania and Kentucky, and as far away as Brazil. A stellar lineup of guest artists and clinicians made the event memorable for all who attended.
The workshop kicked off on Friday, March 15th with opening remarks by Marilyn Bone Kloss, David Ohanian, and James O'Dell, Dean of the Music Division of the Conservatory, and featured Boston Conservatory Horn Players in an opening fanfare arranged for the occasion by David Ohanian. This was followed by Berklee College of Music Professor Dennis Leclaire, who described the genesis of his composition Quartet for Four Horns, written for Marshall Sealy and the Boston Opera Horn Quartet and based on a "pole" of four notes. The work was then performed by the Boston Horns (Jean Rife, Ken Pope, Kevin Owen, and David Ohanian) and was enthusiastically received by the audience. Boston Horns then performed three Bach pieces for four horns arranged by Irving Rosenthal and a rousing and swinging rendition of Duke Ellington's Caravan arranged by Kevin Owen. The second half of the concert featured the Boston Conservatory Faculty Wind Quintet (Laura Ahlbeck, oboe; Marianne Gedigian, flute; Ian Greizer, clarinet; Suzanne Nelsen, bassoon; and David Ohanian, horn) in performance of works by Zemlinsky (Humoresque), Ranki (Pentaerophonia), and Schifrin (La Nouvelle Orleans).
After the concert ended, many workshop participants repaired to Woody's, a local pub near the Conservatory, where they listened to noted jazz hornist Tom Varner perform with his trio until the wee hours of the night. Tom Varner has continued the tradition of jazz horn playing which started with Willie Ruff, Johnny Graas, and Julius Watkins, clearly demonstrating that the horn is a highly versatile instrument that is not merely relegated to the concert hall. Those who came away from hearing Tom had a deeper understanding of the horn as a jazz instrument.
Saturday morning came all too early for many participants, but it was a morning well worth getting up for! While mock auditions were being judged, other horn players found themselves doing "overtone sweeps" and "spider webs" as Lydia Bustler-Blais led a guided warm-up. Lydia is a teacher and performer based in northern Vermont, well known for championing and premiering new music for horn. The mass horn choir then rehearsed.
One of the most interesting panel discussions was Auditioning for Community Ensembles, moderated by Marilyn Bone Kloss. Panelists were Jonathan Cohler (conductor of the Brockton Symphony), Akiko Fujimoto (conductor of the Waltham Symphony), Adam Grossman (former conductor of the Cambridge Symphony), Larry Isaacson (Assistant Conductor of the Marlboro Symphony and conductor of the Medway Band), David Kidwell (conductor of the Holyoke Symphony), Ronald Knudsen (conductor of the New Philharmonia Orchestra), and Jean Rife (horn soloist and faculty member at the MIT, New England Conservatory, and the Longy School of Music, and a teacher of amateur horn players). Collectively, the panel had a wide and varied background in working with amateur and community musical groups. Some require auditions for membership and some do not. Those requiring auditions look for potential, like to hear contrasting solo pieces and some of the basic orchestra excerpts. All look for horn players who are reliable, that is to say people who are punctual and attend rehearsals regularly and are available on performance dates. Those who do not require auditions for membership state that persons who do not meet the group standards of performance usually weed themselves out ("self select"). This was an enlightening discussion that proved to be of interest to many of the workshop participants.
Earlier this year the Boston Symphony Orchestra performed the North American premiere of a significant work for solo horn and orchestra by an important contemporary composer, the Hamburgisches Konzert by Gyorgy Ligeti. Scored for solo horn performing on both valve and natural horn, four obligato natural horns, two basset horns, woodwinds, trumpet, trombone, strings, and percussion, this work consists of six brief movements. James Somerville, principal horn of the Boston Symphony was assisted by BSO members Gus Sebring. John Menkis, and Jay Wadenpfuhl, and former BSO hornist David Ohanian. This marked the first time in twenty-five years that the BSO horn section participated in an IHS event. James Sommerville outlined some of the challenges in preparing the work. It had to be heard and performed with a different concept of pitch and intonation. The composer writing for natural horns (both by the soloist alternating between valve horn and natural horn, and the four horn obligato), achieved a specific effect; creating pitches and intonation that players usually try to avoid. For example, often the combinations of pitches intentionally set up beats. The effect as described by Robert Kizinger in his program notes for the performance is one where "the soloist navigates between one sound world and the other; when the two converge, the result doesn't sound so much out-of-tune as eerie and alien." David Ohanian declared that the work "opened up new vistas for the natural horn." James Somerville gave an impeccable performance and was ably assisted by the BSO horn section. We hope that the Boston Symphony horns will not wait another twenty-five years before performing at an IHS function.
A sobering and poignant account of one horn player's experience with performance injury and its subsequent effect was the topic of Michigan State University Horn Professor Janine Gaboury-Sly's lecture on performance injuries. She related her experience with a rare neurological disorder know as focal dystonia. This condition is little understood by the medical profession but is known to occur among brass players and other musicians. It appears to be brought on by excessive playing. She was wise enough to seek help once the symptoms began manifesting themselves (twitching of the lips and cramping of the upper lip, but no pain) as there is no cure for this affliction. After time off the horn, she literally had to start playing the horn from the beginning and takes medication used for treatment for Parkinson's Disease (which apparently provides some help) as a precaution. Her story was inspirational and at the same time had a very important message, and that is listen to your body, and if it is telling you not to push so hard, then stop and think what you are doing. She also discussed TMJ and nerve damage which can also be problems for horn players. Erin Amendola added her story about nerve trauma to her upper lip.
Along those same lines, Jean Rife gave two sessions on Yoga. One centered on relaxation and the other dealt with Yoga and horn playing. This holistic approach to life and performance was insightful, and beneficial to those who attended her sessions.
Composer Pamela Marshall moderated a panel discussion with Michael Weinstein (Berklee College), Yehudi Wyner (Brandeis), and Dennis Leclaire (Berklee) on composing for the horn, revealing how they conceive of the instrument when they write for it. Lydia Busler-Blais demonstrated part of Yehudi Wyner's Horntrio with Yehudi at the piano, and also part of Pamela Marshall's Colored Leaves for solo horn. Lydia had premiered both pieces, the Wyner in an innovative concurrent premiere. Michael Weinstein borrowed Lydia's horn to demonstrate some of his own compositions for solo horn that he wrote when studying composition with Yehudi. Dennis Leclaire mentioned several pieces that he had written for horn because of having played horn and having friends who commissioned the works. This gave participants new insight into the world of the composer and helped answer a question that we all frequently ask: "Why did he or she write it this way." As performers, it was refreshing to get the composer's viewpoint.
The Northeast Horn Workshop has never been known to back down from controversial issues and one of the liveliest discussions ensued in a presentation by John Boden, a freelancer, Associate Professor of Horn at the University of Southern Maine, and principal horn of the Portland (ME) Symphony. He asked the question: "Is transposition really necessary, or is it time to get everything rewritten into the standard key of F ?" He presented his argument in a very knowledgeable and forthright manner. Possessing a very outgoing personality, John was able to draw many of the participants into the discussion. While the issue was not resolved, the topic did provide food for thought. John challenged us to think outside of the norm and we hope that John returns to future workshops to revisit this topic.
Janine Gaboury-Sly paid homage to her teacher Verne Reynolds in a premiere performance of Sonata Concertante for horn and piano, assisted by Deborah Moriarity. She then performed with Laura Klock, who is principal horn of the Springfield (MA) Symphony and Associate Professor of Horn at the University of Massachusetts-Amherst Reynolds' Call for Two Horns. John Boden and pianist Martin Perry then performed two recent works for horn , Ranz de Vaches by Walter Mays, and Waltz Sequence by Scott Harris. Workshop participants were highly impressed with the talents of these gifted artists.
The Saturday evening pre-recital featured a performance by the New England Conservatory Horn Ensemble, led by Jean Rife, performing arrangements of works by Brahms, Humperdinck, and Beethoven. They sounded magnificent and were a worthy prelude for what was to follow.
The Saturday evening recital featured Pittsburgh Symphony Principal Horn William Caballero and Matthew Guerrieri on piano in the a performance of the Beethoven Sonata Opus 17, Messiaen's Appel Interstellar and Folk Songs Set No. 12-D by Reza Vali. They were followed by Eric Ruske, Assistant Professor of Music at Boston University and former member of the Cleveland Orchestra and Empire Brass, and John Ferguson, piano, in a performance of the lovely Sonatine No.1 for violin and piano by Schubert. Eric reads the violin part as though it were horn in C, so it sounds an octave lower than on violin. The Schubert was followed by Gunther Schuller's Sonata, Saint-Saens' Romance, and Jota by Raphael Mendez. The evening recital was the capstone of very worthwhile day and all performers displayed great skill and virtuosity.
When the formal day ended, it was back to Woody's for more great jazz by Tom Varner and company.
Sunday started with a guided warm-up with Janine Gaboury-Sly, who continued her theme of protecting the embouchure from damage. This was followed by a rehearsal and performance by the mass horn choir led by Pioneer Valley Symphony (MA) principal horn Margot Rowland in works by Handel, Haydn, and others. Thanks to Spike Shaw and Marvin McCoy for allowing the workshop to copy their arrangements for the choir, which numbered in the thirties. Horn choir performance is always a popular participatory activity at the Northeast Horn Workshop and this proved to be no exception. Surprisingly, a sizeable audience, including participants' family members, was in enthusiastic attendance.
The solo competition winners performed. Victoria Pazzato from Vernon CT, winner of the high school division, performed the first movement of Strauss No 1. She did a tremendous job and won the respect of her listeners. John Johnson, a student at the Cleveland Institute of Music, was the winner in the college division, performing the Schumann Adagio and Allegro. There is no doubt that John has the potential to have a great future as a horn player ahead of him. They were assisted by Michelle Alexander on Piano. The winner of the mock audition was announced with Erin Koertge taking that honor.
Richard "Gus" Sebring enthralled his audience with a dazzling performance of the Dukas Villanelle and then proceeded to tell the audience about having the "greatest job in the world" as principal horn of the Boston Pops and associate principal horn of the Boston Symphony. He related what it has been like to work with some of the greats in the music world, his experiences in recording and working with John Williams. He has had to play the principal horn part at a moment's notice, sometimes Mahler symphonies, and on at least one occasion, a recording session. He seems to take it all in stride, although he did allow that he was always aware of the pressure of performance on days he was scheduled to play concerts. He liked that his part of concerts is often over at intermission, so he has more time to spend with his family. Having had to respond to emergency situations makes him particularly aware of the fleeting nature of life. This is his first time as a guest artist at an IHS function but we certainly hope we see him at future workshops.
The final recital featured Boston Symphony Principal Horn James Sommerville in a performance of Jupiter by Denis Gougeon and Mozart No 4. He was assisted by Deborah Emery, piano. The second half of the recital was a performance of the Trio for Horn, Oboe and Piano by Heinrich von Herzogenberg and was performed by University of Massachusetts, Amherst music department faculty members Laura Klock, horn, Frederic Cohen oboe, and Lanfanco Marcelletti piano. Von Herzogenberg was a contemporary of Brahms, and the work displayed many Brahms characteristics. The workshop ended on a very positive note by outstanding performances by musicians of the highest caliber.
Participants also had a chance to meet with vendors to look and try and buy music, horns and accessories. This year's vendors included Holton, Osmun Music, Rayburn Music, Ken Pope Brass Repair, Phoenix Music, and the Hornist's Nest. A flea market on Friday evening was a success by one measure - the only item for sale, a Marcus Bono gig bag, eventually found a buyer.
The Fifth Annual Northeast Horn Workshop was a resounding success and provided the opportunity for horn players of all levels from the Northeast to meet, mingle, share ideas, perform, and listen to live performances by world class artists. Most notable was the range of music being performed - a sprinkling of familiar pieces, but mostly unfamiliar, new, and very attractive works.
Special report on panel discussion, Auditioning for Community Ensembles, by Mark Louittit
One of the most interesting panel discussions at the Fifth Northeast Horn Workshop was Auditioning for Community Ensembles moderated by Marilyn Bone Kloss. Participating panelists were Jonathan Cohler, conductor of the Brockton Symphony, Akiko Fujimoto, conductor of the Waltham Symphony, Adam Grossman, former conductor of the Cambridge Symphony, Larry Isaacson, Assistant Conductor of the Marlboro Symphony and conductor of the Medway Band, David Kidwell, conductor of the Holyoke Symphony, Ronald Knudsen, conductor of the New Philharmonia Orchestra, and Jean Rife, horn soloist and faculty member at MIT, New England Conservatory, and the Longy School of Music. She is highly regarded as a teacher of amateur horn players. Collectively, the panel had a wide and varied background in working with amateur and community musical groups.
Audition procedures varied from conductor to conductor, the criteria based on the nature of the group and to some degree the history of the group. Some orchestras do not require auditions at all.
Ronald Knudsen of the New Philharmonia Orchestra, for example, differentiates what is required for high and low horn auditions. He allows the candidate to perform two pieces of his or her own choosing with differing tempos. He then will see how well they transpose. If they are struggling, he will point out errors and see how well they correct themselves on the spot. This ability to make immediate correction is a desirable attribute in his situation where rehearsal time is limited and therefore things must be fixed quickly.
David Kidwell of the Holyoke Symphony prefers a short formal audition, a few scales and prefers not to hear excerpts but does like to hear a prepared piece. His orchestra performs a lot of "accessible contemporary music." He is interested in how well a player can sight read and gives them selections to read that have "lots of intervals." He then encourages the candidate to remain for the rehearsal to see how well they fit into the section and ensemble.
Not all orchestras are strictly amateur ensembles. In the case of the Brockton Symphony, the mix is about one third volunteer members and two thirds paid members. Jonathan Cohler holds formal auditions at the beginning of the season and requires three to five orchestral excerpts of the candidate's own choosing and a prepared piece. This piece should have contrasting tempos. Interestingly, in his particular set-up he will accept an amateur player over a professional one for a specific chair if he believes the amateur plays well enough and is reliable, at least partly to help the budget.
Some orchestras such as the Cambridge Symphony and the Waltham Symphony have no auditions. The Cambridge Symphony has resisted the notion throughout its existence and this policy is deeply ingrained in its "corporate culture." The Waltham Symphony is moving towards achieving higher standards and may eventually require auditions. Change however is more of an evolutionary one for this ensemble, but this is a direction that the board is endorsing and moving towards. In the case of non-audition orchestras, the panel felt that people who find themselves below the level of the group weed themselves out after a few rehearsals.
The role of the boards vary. In some groups they have the most of the power, and will often times enforce the policies regarding attendance, punctuality, etc. leaving the conductor free to focus on musical aspects only. In other ensembles, the conductor has much more administrative control.
The subject of dues was addressed as a funding source. This does not appear to be a standard practice, although it is not unheard of. Apparently it is the norm for amateur groups in Japan, and can be a major source of funding for the acquisition of new music and equipment. Most amateur groups in this area rely on fund raising and ticket sales. To achieve success with ticket sales, quality performances must be the norm.
Jean Rife stated that in her teaching she prepares her students the same as professionals and accepts advanced students only. She indicated that she would like to see a list of orchestras available. Larry Isaacson prepared a short list of bands and orchestras for the discussion and several websites were listed as well. The Boston Globe calendar section that comes out on the Thursday edition of the newspaper lists open rehearsals and auditions. It is a good source of information.
One suggestion was for persons who are interested in a specific group for which there are no current openings is to work in the area of fund raising. This will clearly demonstrate interest and dedication.
All of the panelists felt that regardless of the level of the ensemble, or whether they require an audition, reliability, punctuality, and the willingness to cooperate and work were desirable traits that they seek in all potential members.
Photos courtesy of Jim Freund
Click on a photo for a larger version
| Dennis Leclaire lecturing on his Quartet | TBC Wind Quintet at opening concert | Guided warmup with Lydia Busler-Blais |
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| Gus Sebring playing Villanelle | Janine Gaboury-Sly in Verne Reynolds premiere | BSO section in Ligeti demonstration |
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| Conductor Ron Knudsen at amateur panel discussion | Janine Gaboury-Sly discussing performance injuries | John Boden proposes all parts be published in F |
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| College solo competition winner John Johnson | High School solo competition winner Victoria Pazzato | Student Quartet |
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To report of 2000 Northeast Horn Workshop
To report of 2001 Northeast Horn Workshop