The 2006 Las Vegas Workshop–Some Impressions

Programs. One of the first things I do after check in is look over the recital programs. I was impressed to see the number of people performing was more than listed in the event website and also the wide variety of works. The set up of this event is a bit different than some, host Bill Bernatis has primarily featured composer (and hornist) Paul Basler and combined his appearance at the workshop with many regional artists.

Artist biographies. These I always find interesting to read. I don’t have an axe to grind on this really, but there is one element that college professors have to be careful is stated correctly in the bio–academic rank. At every workshop there are people whom I know list themselves as Professor of horn but are not. I know academic ranks are confusing for hornists outside of academia, so I can understand the reasons to simplify this detail, but to my mind it is still best to be accurate. I have more on this in the Horn Study FAQ the horn studio site.

Before and after my performance. I received a lot of positive feedback on my performance Thursday–on the interesting work I performed, being impressed with the sound of my compensating triple, etc. I performed selected “Nigunim” (Hassidic tunes) arranged by Lev Kogan, arrangements made for and recorded by the late Meir Rimon. The most interesting reaction was however from one of the vendors (!), one that I have seen at a number of horn events, that they had never seen me looking so relaxed and happy. I suppose that I might look and feel a little uptight before I play especially from the perspective of a vendor, as I basically don’t try horns or look at displays much before I perform at any horn event. I was glad to play this time the first day of the event and to be done with public performances right away!

What did I buy? Why do horn teachers come to workshops? A variety of reasons, but one is to check the displays, as noted above. I always buy a bit of music, this time two works of Paul Basler, Reflections for Horn and Piano and Harambee for horn ensemble, a horn ensemble version of works of Edvard Greig, and a new book by Michael Hoeltzel, Mastery of the French Horn. I restrained myself a bit and only bought one CD, Harambee, horn music of Paul Basler. Bought the last copy they had! Finally, I purchased a GREAT horn embouchure visualizer from Ken Pope http://www.poperepair.com/ (Brass Arts also sold this item, http://www.brassarts.com/). This item I don’t see in either of their websites. I was told it is made in eastern Europe. What is great about it is the rim really is a horn rim, this is the best visualizer I have ever owned.

Natural horns are back! I have not performed in recital on natural horn since my first recital at ASU in 2001, and as I was hearing the natural horn performances of Jeff Snedeker at this event I realized that I had not heard a natural horn performed at a workshop that I had been present at since the Bloomington IHS symposium. The most interesting of these works was certainly Gently Weep for natural horn with digital delay (2004) by Thomas Hundemer. Will need to look into this work further, certainly among my picks for most interesting works performed at the symposium.

Pleasant surprises. Every horn event has surprises, new works, new products, etc. The surprise I would want to highlight at every event I have been at is the fine playing you will hear from people whom you would not guess were such strong players. There are some very strong players out there working and teaching in places you might not expect, get to a workshop, you are in for many pleasant surprises.

The best horns I tired. In the category of descant horns, the new Alexander 107X descant is quite nice, I would love to have one of my own. In the category of full triple horns, the newest by Ricco Kuhn is very nice, one to try for sure if you are looking. In the category of double horns there were a whole bunch of great horns in the vendor room. From US makers I thought the Atkinson Geyer has some real potential and the Patterson horns were really nice instruments. Among foreign makers, alphabetically, there were very nice horns by Alexander, Durk, Dieter Otto, Finke, Hoyer, Paxman, Ricco Kuhn, Schmid, maybe even others I am not thinking of right now. I tried almost every horn in the room; there were dozens there (no Yamaha horns were on display, the only major maker not represented). Among horns more in the student category I liked the Conn 11D the best of the horns I actually tried.

Leaving early. I left early! I wanted to get back home for a couple different events on Saturday in Tempe. If you are reading this very soon after it was posted Friday night and can make it in for the last day of the event tomorrow, by all means go! It really should have had more hornists there. If there is a horn symposium in your neighborhood be sure to go.