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RE: F Horn in brass bands (fwd)

Another factor that I haven't heard discussed regarding the F-Horn in a
brassband is the technical difficulty of the horn parts vs. the
abilities of each kind of horn.  Remember that the F-Horn is playing,
essentially, an octave higher than the Eb with regards to the harmonics
of the horn and blowing an air column nearly twice as long.  The first
factor puts the harmonics so much closer together that it's really
really (REALLY) hard to hit them accurately and reliably.  The second
factor simply makes it hard to get around a lot of notes quickly because
of the increased inertial mass of that longer column of air.

To use a previously mentioned example, the Conzertstuck in F major,
op.86 by Robert Schumann is widely considered one of the most difficult
horn parts in the orchestral literature, yet the stuff that, for
example, Sparke or Wilby writes every day for horns is far, far more
difficult.

KPetersen@xxxxxxxxxxxx

>----------
>From: brassman@xxxxxxxxxxx[SMTP:brassman@xxxxxxxxxxx]
>Sent: Wednesday, May 06, 1998 9:55 AM
>To: brass-band@xxxxxxxxxxxxxxxxxx
>Subject: re:F Horn in brass bands
>
>Kees...........
>
>You should listen to the band from in front then.  Kees,  with all due
>respect, you couldn't be more wrong. French horns don't blend well
>except in certain pieces of music... for instance... Erik Leidzen's
>"Pressing On" which begins with a fanfare for horns.  That would be
>great. Tell me what is wrong with the brass band sound as it is?  You
>mean we have been doing it all wrong for 150 years?  I love the french
>horn.  When you arrange or compose,  you do it with certain instruments
>in mind.  You can't just change the concept of scoring by playing the
>parts on different instruments.
>
>As a solo instrument with brass band  the french horn works well.  I
>arranged the Strauss Horn Concerto No. 1 for River City Brass Band (who
>use only french horns by the way).  Another wonderful piece I would like
>to hear with brass band,  and a piece I began arranging, is Concertpiece
>(Conzertstuck in F major, op.86) by Robert Schumann for 4 french horns.
>The reason I stopped, was that I couldn't make up my mind if I should
>use 4 french horns in addition to 3 tenor horns in the band.  It limits
>the amount of performaces significantly but would be my preference. I
>would rather hear Mozart's Rondo with french horn rather than euphonium
>any day.  Vinter's Hunter's Moon is another good example... much better
>on french horn then tenor horn.  I would like to hear especially written
>music with a section of french horns either in addition to or in place
>of tenor horns.... but why destroy the tradidition brass band sound
>which is what we were all attracted to in the first place.. and I might
>add that it was also the (most,  if not all) composer's and arrangers
>intent when they wrote it.  Can you really picture starting "Journey
>Into Freedom" with french horns?  How clumsy !!!
>Stop trying to fix something that isn't broken. You know there are
>french horn lists among others.... do you think they are discussing
>using tenor horns instead of french horns?  Not a chance..... I know
>there are other composers and arrangers on this list.  It would be
>interesting to hear from them about this as well.
>Brian?  Bill?  You too Adrian........
>****************************************************************
>
>On 30 April Adrian Drover <saxhorn@xxxxxxxxxxxxxxxxxxxx> wrote:
>
>> On 28 Apr, Cameron Mabon <cmabon@xxxxxxxxxxxxxx> wrote:
>>
>> > French horns simply  could not fit into such a sound.
>>
>> That's true ;-)
>>
>> Adrian
>>
>
>I've been following this discussion for some time now and I have to say
>that I played in several Brass bands during my formative years.
>
>As a professional educator and Hornist I feel that my sound did not
>detract
>from the brass band sound - it blended in well and at times added a new
>tonal quality which was very useful in developing the Organ-like timbre
>of
>( especially ) hymns and slow pieces. This was especially true when I
>was
>playing 1st or 2nd horn parts, where the parts are not usually played
>with
>strong conviction or tone. The French Horn sound really filled these
>parts
>out.
>
>I also found it a nice effect to double the Eupho parts to round off the
>
>Eupho sound in similar tunes.
>
>If the Horn is played correctly it will fit into any combination of
>instruments ( Horn players are very sensitive to intonation and timbre
>problems ) and will only add to the band's tonal colour.
>
>As this was a long time ago and my participation in brass bands was
>rewarded by being banned from contesting, etc ( rules, rules ...) I
>ceased
>to play Horn in them and went on to almost all the other instruments,
>which
>I approach with the same style as my Horn playing.
>
>I hope this adds to the general discussion.
>
>Kees Dogger, Conductor Biarnsdale Citizen's Band.
>Dogger@xxxxxxxxxxxxxxx
>
>Kees & Michelle Dogger
>
>
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