French Horn: Interview and demonstration with principal John Cerminaro발음듣기
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French Horn: Interview and demonstration with principal John Cerminaro
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The Firebird - Suite by Igor Stravinsky John: To tell you a little bit about the French horn is interesting because the horn is as old as they come.발음듣기
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The purpose was not so much music, as to get the attention of somebody else who maybe had a horn and he was going to broadcast too.발음듣기
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(quavering call) Later you got hunting horns, so if you caught the fox you might want to let them know you got them, so can play something very fetching.발음듣기
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(rapidly modulating trumpeting) Meanwhile the postman plays this to let you know the mail has come.발음듣기
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It's still the same idea. Imagine all this tubing is not there still, we're still in the old days.발음듣기
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(flowing trill) It was that dark, haunting tone that made the horn seem likable for the orchestra.발음듣기
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The low register, okay, the high register, yes, but what they fondly call the cash register, the middle register of the horn is still what people like to listen to.발음듣기
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With the violin, when a violinist makes a mistake it's a little (whistle), this slight little thing that nobody notices, but a French horn, a blooper on the horn is like somebody dropping the dinner tray, you can really spoil a concert.발음듣기
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As much as we don't like to think about it, playing the horn as well as possible and finding ways to play it beautifully yet also reliably is what we seek in mouthpieces and bells, bodies of the horn, lead pipe.발음듣기
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That garland is also based on the principle of weight distribution and accuracy for the horn.발음듣기
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It is true that you lose some of the highs in the sound, very minuscule, but you do gain some in solidity of playing.발음듣기
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67 by Ludwig van Beethoven. Every horn player goes through a pursuit of the will o' wisp, the mouthpiece that would be perfect."발음듣기
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Where is it? I know I can find it. I know I can find the mouthpiece that's going to be the perfect one."발음듣기
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It's fascinating for many reasons. They are orchestral in nature, they're made for a certain kind of sound and articulation.발음듣기
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Dennis Blane is the great spiritual father of all horn players, so I was very anxious to play a mouthpiece like his.발음듣기
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Here in Seattle I found a maker, just over the line in Portland, Oregon called Marcinkiewicz.발음듣기
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The mouthpiece, the rim! These mouthpieces have rims that screw on and off, you keep trying to find the perfect rim.발음듣기
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But in the end you arrive at the same conclusion as all my teachers did, that you're opposing yourself, you're going against yourself in a way.발음듣기
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You're taking up a mouthpiece that helps you with something you don't do that well and not worrying too much that you're going to lose a little off of one area or another, because you have an abundance there.발음듣기
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My father was a clarinet player, my mother was a trumpet player, but they were both band directors.발음듣기
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In those days band directors went where the jobs were, and they landed in small towns in Texas.발음듣기
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When I was about 10 years old my father brought home two instruments: He brought home a French horn, and he brought home an oboe.발음듣기
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There weren't orchestras, until I got to Dallas and there were a few orchestras there, but in Navasota, Texas, in Orange, Texas it was bands.발음듣기
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One night at a football game when my father was conducting the band - this was the high school band.발음듣기
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In my first year of high school, as a sophomore in high school there was a traveling jury from Juilliard, I don't know if they do that anymore, but the traveling jury came to Dallas.발음듣기
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Jean Morel was there, and other people who were deciding who might get scholarships to go to Juilliard.발음듣기
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My teacher, Alfred Resh, a great old-time horn player, and my parents, they pushed me out on the stage and said, "Play for them!"발음듣기
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I played a little Mozart, I read a little music, and they gave me a full scholarship to Juilliard in my sophomore year of high school.발음듣기
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I didn't have anything to worry about, I thought, so I just breezed my way through high school, but I practiced my horn all day long, every day.발음듣기
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My parents put me on the plane and off I went to New York, by myself, and it was a huge change.발음듣기
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Juilliard was bustling with people that all knew what they were doing and I picked it up as fast as I could, how to do this and how to do that, how to be good.발음듣기
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While I was still in Juilliard I was offered principle horn in the Dallas Symphony, principle horn in the American Symphony and even principle horn in one of the west coast, I think Seiji was asking me, I think it was San Francisco.발음듣기
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The point is I was in school and I asked my teacher, my mentor, Arnold Fish, he was a great friend.발음듣기
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In my last year in school it was the New York Philharmonic, The New York Philharmonic, Leonard Bernstein, they wanted me.발음듣기
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This time you should go. I left school just a little early and went right into the New York Philharmonic as assistant principle horn.발음듣기
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It was wonderful because Leonard Bernstein had just stepped down and he'd become conductor laureate.발음듣기
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Pierre Boulez had come in as music director, and between the two of them, briefly, Dr. Szell, George Szell.발음듣기
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I went next to associate principle horn, then to principle horn, which was a great thrill for me to be in the chair that once belonged to my teacher.발음듣기
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After 10 years with the New York Philharmonic I'd seen already, I'd been with Bernstein, Boulez and Szell as music directors and hundreds of other great conductors.발음듣기
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I played, in fact, almost a whole year with Zubin, but in the mean time was being wooed away by the Los Angeles Philharmonic.발음듣기
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Carlo Maria Giulini, Giulini had come and conducted the Philharmonic, I played a lot of great things with him.발음듣기
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He loved me, and I didn't know how many years it would be with Zubin in the Philharmonic but I knew they were in store for some big changes, and I knew that going with Giulini would be-- I just had that feeling this is something I should do.발음듣기
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I taught and Juilliard and my manager booked concertos for me here and there, and I liked it.발음듣기
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You have great seasons where you have lots of stuff and you're making a lot of money, and then you have lesser seasons.발음듣기
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I would play guest principle horn wherever they were trying to get a principle player for their orchestra, where they were advertising and trying to get somebody.발음듣기
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I was in Japan, I was in Nagano when I got a call from Jerry, could I come and open the season, their first horn player was ill.발음듣기
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I did not know I was going to have this life, to have a nice home, to have kids, have a wife.발음듣기
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A standard, wonderful B flat life, but there it was, and Jerry cooked it all up, I don't know how!발음듣기
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There's more music there." I was told virtually the same thing by Dr. Szell, and by Leonard Bernstein, and by Pierre Boulez and by Gerard Schwartz and by Giulini.발음듣기
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It is true that it's harder when you decide to be a professional musician, when it says professional musician on your passport, when they pay you for it, but if you can stand it it's a great life.발음듣기
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It can pull you towards it at such a rate and with such power that you can't find a way to give yourself peace.발음듣기
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Having a hobby of some one kind, playing chess it was as one point for me, now it's painting.발음듣기
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I recommend anybody who wants to play this instrument professionally, be sure that you also take up a hobby that gives you a chance to have some real rest and some peace from it too, because it can be quite overwhelming at times.발음듣기
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