Tim Jones & Sarah Willis talk Mozart Horn Concertos live on Sarah’s Horn Hangouts, watch the full video below.
Transcript
Auto-generated from the live stream, expect the occasional robot mishearing.
Good afternoon everybody watching the horn hangouts from all around the world good afternoon from Berlin it’s actually tea time here so Tim Jones and I welcome Tim we are decided we start off with a cup of tea Cheers well why not cheers everybody and what are you drinking where are you and what are you drinking that’s what we want to know biscuit you’re gonna force me on camera three
I already had three or four today is all about Mozart Mozart horn concerto x’ and i have the idea because the LSO are in town today you’re not playing Mozart there I know sadly we’re doing messy and today messy an is chef on J would say messy an but you’ve played many Mozart on concertos in your day yeah
I haven’t and which one is your favorite toes always my favorite why I just like the tunes it’s just it’s I know that if thought for is the famous with the last name that’s been popularized but for me number two well my favorite ones Mozart three because it hasn’t got many high notes but no musically actually I find that actually
I think probably the hardest to sort of deal with into phrasing - yeah because it’s simple it’s number three’s quite simple but actually to do something with with it other than just playing the notes and of course you know it’s a concerto that we hear all the time because thanks to everybody place everyone here is it all the time and what really stands out is when somebody comes along and just yeah that’s really amazing we have which
I know some people are watching they have Oh Annie Danny and Dylan are watching in LA ello u 2 u 3 and Henry the baby - cost us as workers watching from Athens in Greece cost us a Maria they made me my my mute this fantastic mute Heidi in New York and an Alabama Pete in Troy Alabama
Alexander honex bear from New York hi Alexandra Hadley from Boston Selina in Hamburg oh my goodness I love this I haven’t seen my mom on the chat yet she she’s always there and and I know GERD says hello from Berlin girls like that so I know you’re watching on Facebook as well and the thing is I only have the chat for for the website here because the facebook chat goes on so fast
I can’t we can’t deal with the questions on that so if you have questions about Mozart and we hope you do get on to the website and you’ll see the chat and and write your questions there now I know Julie Landsman is watching one of your favorite people you too sent me in a hilarious video you were just together in
Santa Barbara that’s right I was a week and then I was out actually five or six days before that doing some coaching at the Julie played with you yes Julie came in and played some third horn and it was just lovely she’s one of the great characters of the world well I’ve asked Julie Julie and I think
Jen Montone is going to join us and Andrew Bain it’s midnight in Australia and he said he wasn’t quite sure if he could say anything useful at that time of day especially after all that Australian red wine that might be drink and are you there and if you are yes say hello so when I was trying to recreate the principal horn hangout that we do know that’s right from the
IIHS which Annie and Andrew organized that was that was Annie that was the best one that was so amazing we had such a good time in his locker Stephan is is here but he’s not here but he says hi he’s practicing no he’s meeting he’s doing a whole concerto by Abrahamson and I said we didn’t want to talk about
Abrahamson today we want to talk about Mozart right but so I’m sure you’re seen later soon we’re going to have a big party after so let’s let’s all not get life I’m just scared because apparently Simon Rattle never gave a party when even more people conduct it he when he is for the LSO Thank You Simon he gave us parties but this is a special one and we were going to give you a party so yeah it’s a special one and you know what
I’m going to get crashes so nori is watching hello nori goodness me this is really quite amazing that nori sent me something for our very first question today okay okay the very first question is this one do you trill in Mozart from up or from down see that I can only say what I do okay what do you do say no no
I ask the other guests well I can tell you what I do but you tell me first and if your answers good I copy it I do from the afternoon APRA note yes it says I start working up a note now I heard from again Martin who’s playing this week with us who was a student of Mary
Louisa that Mary Louisa also chose from the upper note except in two occasions and unfortunate I can’t remember all of them except from when you’re going down da-da-da-da-dah or when you’re going I can’t remember Adri and if you were watching can you tell us the rule I forgot anyway that’s quite nice isn’t it Noorie sent it to me today so yeah so you were trill from the upper note
I would yeah what about if someone’s having a problem with those g2a trills is it allowed to finger those yeah I think I think we’ve got to use the advantages that we’ve got and that’s one of the advantages that you can the problem with the true or the valve trills you just you get doo doo doo doo doo yeah it’s getting it fast enough yeah to be able to use those efficient yeah
I thought people do valve truths that are almost indistinct but that GTA is just seems like such a huge space to trillion it is it is but you can as I said I had what people do baddest can be convincing yeah my mama’s just written she says teen in a glass shocking it should be bone china sorry mom we’re in
Germany this is this is this is all we do but we did get some nice Vicki’s which is I don’t dare eat them now I’ll be spitting them out of the whole morning Jenny’s Jenny’s there hi Jen hi Jenna Jenna you know you’ve met Jenna haven’t you she’s in in Seattle oh my goodness so leo says trill from the upper note unless the note before the trill is the upper note
Thank You Leah for that does that make sense so if you’re a bum bum bum ba ya you go back you don’t back up yeah yeah okay good so um everyone is writing in where they are watching from you Facebook was for watching at live on Facebook please get over to the chat and write them in or maybe handsome
Tim is watching had some Tim is not an Australian handsome Tim is in Amsterdam helping us run the stream here so thank you for that so if you see any good questions copy them into this chat yeah Ricardo from Peru we’ve got people watching everywhere so now that you’ve got a fan club from Peru oh you’ve got a fan club really great time with you yeah and you that’s
Aaron brilliantly cajoled us all to meet the Peruvian horn player so there’s a big fan club we we had a fantastic time we had a flash mob in Peru Ricardo you were playing weren’t you and and then the the the lso horns they had a concert I was free that and I said come on guys and it was like 11 o’clock
I said come on please come out and you came and they serenaded by this president and beer and it was a fantastic night in Peru thank you very much for that so you’re all telling me where you’re writing in from which I want to know but what we really really want to know is what questions you have about
Mozart and works out home concertos I’ve got all the music here Tim you’re actually recording them well you recorded one already yeah what’s going on well and so you may be I reckon I’m gonna Victor I’ll be the into you no good not turn it well but you’re not playing that game them it was a project that’s been a chef feel so fortunate that
I’d done number three a few years ago live with the orchestra and then I decided that um before I was 60 I really wanted to - you’re not 60 years no I’m not 60s coming up very soon I really wanted to get to do them so to could do them all live with the orchestra so I did a pro
I approached our managing director thinking that somewhere along the line I’d have to probably find some sponsorship to get that done and serendipity has it that she’d already had a project in her mind it did which this is the concerto I’m recording next month is part of which one a six month three you done is three have already done for a month and it’s part of a project that’s going to be all the wing concertos we called it live with the orchestra so this this concert that’s coming
I’m doing number four and the concert auntie and there’s a Nova concerto and a clarinet concerto then the following year it’d be the other two concertos and then there’d be the flute concerto and bassoon concerto on that great so it was it was just lucky that I came thought about it at the right time but it’s the first time you’ve you recording for right yep yeah
I went through I went through the entire list of everyone who’s recorded all the Motorhome contenders it’s not my tears I mean it’s absolutely massive yeah and just so happens that I mean this is going up gonna be on LSO live label and they they were thrilled at the prospect because that a Mozart concerto so one of the top-selling classical music
CDs out there I’ll buy your know well enough is and Sara’s going to be recording can I be in - we want to talk about I want to talk about your concern I’m going to tell you very quickly I’m going to record nights at 3:00 and the new Mozart well I don’t know how new it is do you guys know about this gen
Julie anybody out there Annie do you guys know about this new one it’s the concerto six 370 B and three seven one together so it’s the concert piece the concert Rondo with eight with new bars that they’ve discovered and it’s also a beautiful first movement yeah and and I didn’t actually know about this the Cubans told me about this because the conductor
Pepe had he’d been in Salzburg and he said oh you should try this new it says it’s been put together by Robert D Levine and bear and bright cops on how to have published it and it’s absolutely beautiful and I can’t find too many recordings of it do you guys know this you didn’t mention that off camera and actually
I now remember that I have heard a snippet of Radek plane rather Radek told me I saw him in the summer I asked about it he said he’s recorded it yes but heat because there’s no no slow move but we don’t know if this first movement is supposed to go with the concert Rondon but we just we just say it and he put something in the middle
I can’t remember what it is but anyway you could actually get your horn out and play it for us if you’ve got your horn if you want that would be nice anyway so I’m recording those two in Havana and mixing it up with some urban music and it’s called well so remember it’s going to be very cool but
I’ll tell you all about that another time it’s a please pestis Sarah to get some more information out of it I think trying for every year that’s as far as I’ve got no it’s gonna be great we were there in the summer and we rehearsed it and I’m having these arrangements made the the Rondo of Mozart 3 we’ve turned into a mambo yeah it’s very cool and
I’m the Cuban say Mozart should have been a Cuban because his his whole reward Aviva and his way with the women apparently yeah anyway Jenny doesn’t do this but but there we go how did they discover it are tricky you know what I don’t know I would find out I think it was just from sketches and I think they put it together but it’s all in the flat there is another fragment in e
I found that’s right um Ashleigh funny and awesome what might be called that as well but separately completely separate leading because strangely enough the assistant principal the Royal Academy music in London he’s also called Tim Jones oh and he’s actually completed a whole movement that he made your fragment he’s done a illustration of of it and completed it sort of in the style of
Mozart so there might be another little project to do the Tim Jones recording the major fragment put together put together by Tim Jones but not we are almost all together Jen is on the chat Julie is on the chat andrew is still awake in Melbourne are you Andrew you and me and um chef on doors we’d never know you never know where he is but he’s practicing so yeah that’s great
Jen Andrew and Julie could you write in what your favorite editions are because we just had we just had this question from Alexandra and I know I I thought about which ones I really loved and which ones helped me the most playing you’re preparing the concertos and the ones I listened to preparing for my performance of it can you say which ones are your but your favourite the the editions all you know edition oh sometimes - you said
Edition so she did mean recording she did she asked editions I’m sorry I’m getting out in German German it did Sean yes which one is your favorite Edition well I mean there’s no ruining there I think the only ones that really we should be playing the bride course because I felt that these are the slightly older if you think great look at this can you see this one you guys this is that my original one and because the first piece
I ever played look at that was the second movement well of course now they let the very latest breitkopf Edition that doesn’t I don’t have a lot of this slurring which is good because it’s just they just what what’s actually in Mozart’s hand is you know that I mean this would have been edited by somebody but the very latest
Breitkopf is it just represents what Mozart yes and I think that’s quite good I do too I mean I always think it the plainest one you can but also do what you want with it yeah you know what you you want to stay in a style of Mozart but just because there’s no articulation written there doesn’t mean you cut it in what about your favorites your favor recordings oh no that’s so contentious if mine was out you’d say mine and if you don’t
I’d say I think one that being British one has to mention I mean not so home playing but just for musicality one has to mention the brain of course there’s a several brain and um Julie just wrote into that I mean the musicality I mean he’s to this day and age you’d say it’s probably old-fashioned horn playing but then musically is just extraordinary and and especially the the recording stuff that he’s doing on the the little peashooter the
F quantity’ they’re just lovely I just heard a recording you yesterday what what horns did he play for those do you know with the famous some Philharmonia the cat REM recordings that that’s on his on his b-flat single hall aleksander b-flat single horn but there’s loads of recordings and there’s some earlier ones that he did which is playing the little
F peashooter yeah peashooter you have to explain that to like our friends in Peru and so a Pierre DeVaughn we call a horn that just plays in the single a single yeah we used to call it the peashooters knickers thing that was a phrase that a nickname that was developed in England because the the compared to that to the modern horn the bore is much much much smaller and it made a much smaller much clearer direct sound and so we just nicknamed the peashooters
I have to mention I of course Dennis brain and also another Brit Tony Halstead Anthony Halstead made the most amazing recording on the hand for this is actually one of his hand horn here yeah it’s a it’s a hosted web but when the very first ones that he built and it’s a beautiful recording and Tony’s a master in making notes almost sound the same
I mean he was for me one of the first people that really so convincing plane natural warm this brings us for our next question might Olli Olli Johnson hello Olli nice to see you or hear you from London you know yes I don’t know yeah I met him in Union why yeah long time ago I’m hi sir and
Tim do you think that the phrasing and shaping of the melodies and Mozart should be dictated by how it lies on the natural horn ie should-should notes which has stopped to have more emphasis and this is exactly what we mean with I’m laughing because all he’s done some studying with me and one of the things these days
I’m thinking about a lot and talk a lot about with my students and all he’s brought that up is that you know now we’re so far further much further on from when the hand honk if you like came back into fashion we’ve got used to we know we now pretty much know with the original music scene what it would have sounded like and my big thing with that is is we should take care playing on the modern horn we have to keep it on in our mind what was what it sounded like on the hand tones because some of the stuff that you do on
The hand torn affects the phrasing very much very much it changes to how you would phrase because I we have to believe that Mozart knew what he was doing what notes were stopped what notes his good friend the one that he kept calling a donkey of course and so we have to believe and if you look at the look at the music carefully and realize what are the stock notes what are the you know it changes that it should it should impact how you phrase on the modern example that’s one of the new ones okay for example tim is amazing says and
Ruben thank you Andrew Cheers okay midnight in Australia here we go so much so we’ve got this phrase here at the end end of the opening theme is but I’m picking up a beat up on three four one dumb big it bump on B and then the next note is hand out of the bowl pushed aft and then uh so it actually should dictate that it’s a crescendo decrescendo there there’s gonna have to be because on the hand tool you couldn’t get the note hand out the belt is going to ring out and a lot of people could start crescendoing me but that next note
Is the Christoffel note the next note is a stuff couldn’t you really honk it out yeah but you know I think pretty much harmonically that wouldn’t be like that you wouldn’t do that you just wouldn’t do it I mean that’s just that throw an example that’s the sword I think I think if it affects the phrasing how you’d play it on the hand one
I think we need to be mindful of that so do you think all students should learn the hand tone what do you guys think do you think everyone should at least have a couple of years studying it at college I mean I found it absolutely they’re replaceable this this time I spent with Antonia with Toni Houston yeah
I do I do I mean he can’t do any harm it can’t do any harm I just don’t like playing in a concert no no there is that I think that’s too scary and asks oh of course as originates and techniques of I’ve moved on so much it is a little bit like that you know you can’t be a jack-of-all-trades this is
I think you know years ago maybe you could do a bit of this and a bit of that but predominately do find the people that are playing the natural ones are pretty much full-time but the lovely thing I found on youtube of Roger Montgomery playing it probably was and they were playing the concert Rondo with the original text oh it’s real and they were you could see it above in the orchestra was going on laughing is a really cool thing on
YouTube you guys can look it up it’s really good so you’re all very quiet we want to know who’s your who are your favorite who are your favorite recordings and the addition we’ve decided the most simple simplest the simpler the better there’s some wonderful Russian additions I came over recently and there was all sorts of stuff in there in
Cuba they had some copy of something it was it was quite impressive the most important I think I had a student once that it came and played me something with an articulation and I stopped and I said why are you playing this articulation and she started she thought about it I said you like it she said well my teacher told me to and and
I said well maybe you know you want to listen to some other ways and maybe decide what you like the best if it’s still the way your teacher thinks then great but yeah that’s why it’s so important to hear all these different recordings I think oh well absolutely I mean I’m blessed I’ve got to have bless because my darling wife who’s a super fine cellist she watching
I don’t I’m not sure she is that she she’s looking after our children hello Jenna Fischer you know be married to a string player if you look at a string players part and look to the homeplace part I can probably say this to my students I say okay let’s have a look at your part what are you actually doing
I mean a lot of people don’t actually write in exactly what they’re doing if you look at a string players part is it’s it’s like you know anybody could play that because it’s all written there for what to do clear precise consistent markings well they’ll all go the wrong way if they don’t write at all well quite so not only that but articulations and how you know short long whatever is that and
I’m sure you you teach you just look at those students apart and say okay I want to look at that part and so I know exactly what you’re doing and and often I say kemplay wasn’t the top department yeah but that’s the thing I look often at the part I hear someone in the master class and I think oh great
I can say this isn’t this cuz you know it’s like the master always thinking okay what am I gonna say in front of everyone and then and then I look at their part and actually everything I’ve said is in their part just haven’t done it haven’t done it oh here we’ve got some good good suggestions coming in
Kevin McDonald says Mason Jones he played on that he played it for us in her hand horns Jen loves Radovan and chiffon Doris Karen start win also from the Guildhall thank hi Karen brain and bow Matt Bauman yeah yeah Vaman is also great yeah and Roubaix now says sara is the best all right thank you thank you
Andrew yes what what what vintage are you drinking actually the reason why I love hasn’t done the Mahler but the office Chamber Orchestra with david jolly playing number four actually and I just love it because I like this I’ve always been a great admirer of the sort of con 8 d playing sorry though that’s gone out of fashion and
David it just just reminds me of what how great you know the 80 kids sound yeah and it’s such a shame it’s they were like Finster oh that never recorded that would have been amazing Finster playing the Mozart concerto I would absolutely love that Simon Says brain and barbaric with quartet erratic recorded I don’t know which one all of them with the quartet
Jen has asked for a very good question now Jen and Julia Julia throatier econ 8d yeah it’s so great to have you guys on the chat really it is Jen can you share your thoughts on writing at convincing Mozart cadenza nah I definitely wanted to get to the cadenzas Jen Julie Andrew anybody else out there can you share your thoughts about writing a good motorcycle tender yeah will you write your own code ends or will you play someone else
I’m gonna do a mixture in I mean I’ve always been a great admirer of the brain breaker denser so and I’ve also been very lucky that a great mentor of mine wrote some wonderful cadenzas called Richard may where they used to be the designer for pattern Holmes wrote a couple of cadenzas one for me and one for
Frank Lloyd for three and four bits of those and I mean they were years ago and so I’m gonna mix and match with that and primarily because lot lots of our other contenders that you could use as tough as some of them I disagree with it quite a bit because there’s a lot of lots and lots and lots of notes that just would be completely impossible and on the handle and
I’m not saying you can only use the note that’s the big question do you have to these days play Mozart Hawkin Oh with only the notes that could be on the handle you turn it completely around I’m asking because pretty much human but does not forget that we you know this day and age I mean on the handle you can get pretty much all the notes but you’ve got to be careful that you’re you don’t use too many the notes that are completely sound just of course awful so
I’d like to think that the circuit sends as I’d use will be plug could be could be played on the handle but I’ve heard a lot of contenders which I suppose sadly I could say I disagree with because they were just sound ridiculous on the handle thing about cadenzas is also you know everywhere it’s a moment to show off and show what you can do but don’t do it for too long yeah that is the other thing yeah
I mean you really got to look at the Mosab piano concertos I mean that people don’t play it’s often short and sweet and and just just not get out of there so do you appreciate when a student brings their own cadenza cuz I really do if it’s a good soldier I really appreciate that and also to an audition how many times have we’ve heard
Mozart I think I mean obviously that that’s a great thing I mean it shows that if people have thought about it whether the student little obviously I mean yes the teacher knew you impressed might disagree occasionally with what they’ve written but I’m still yeah anyone out there we want your own cadenza we want original cadenzas I I didn’t write my class well and offer up mine and he wrote the one
I wrote he did for my brother and Phil audition here it was so difficult that I tried playing in a concert once and I decided no we’re not we’re not doing that so I could you could do this I’m sure there’s too much bass in there but it’s it’s quite important I think for me also like in the third concerto that you put a couple of high b-flat yes in the cadenza you know and you don’t necessarily need in the fourth to go down to a pedal
F though we hear that quite a lot it’s like okay okay you can play a pedal effort if you can fit it in nicely put it in but if you’re just gonna honk it out just for the sake of it I don’t know well just have just a thought you said she was just saying that you know over the years certainly with most lot what has impressed you might not agree but certainly for me what is what has impressed me that impresses me the most and often is not the it’s not the running around the instrument and high and low and louder stuff is just
Just my beautiful music musical playing yeah it’s so much more impressive than all the way other stuff Jen says she finds it quite terrifying to write her own she tends to steal snippets from recordings and try and patch them together yeah she loves something here here she’d love some suggestions nor he said it’s always best to write your own cadenza and jebane would like to give you to have give her thoughts on the ashes fifth concerto right well thank you very much
Mauricio Villalobos says do you use a chord progression for the cadenza there’s a sort of in there is there a rule for a cadenza do you have to start with Bom Bom Bom Bom Bom Bom or do you I wish he could play me or does not know actually my father-in-law wrote Anand not that I’m going to use it but once
I did do it he wrote me wrote a cadenza for me for the third concerto I need was professor of file in at the Guildhall School of Music at the time and he started it out in the minor key so I don’t know what that means but it was it was it was fun it was fun that’s a little bit sort of sad there was like okay sorry here’s my cadenza tiny little bit but it to go all the things start with major and embellish quite stay with
Horne appropriate natural and appropriate notes and try flashy lyrical flashy I don’t know I don’t agree that it has to be completely flashy you’ve got to have something in there you could have something in there but I mean the material there’s so much material you can use an hour hour out of out of the concerto that’s just in the obviously that’s in the music in the in the string music so shouldn’t be delivered and little quotes of other things why not no why not
I’m saying that only because my my cadenza will have something tiny cute a little bit of something Cuban hidden in there but if I’m recording it in Cuba well yeah you’re doing it’s an well the whole don’t tell everybody has it coming up but it’s gonna be you know just alternative interest is your to do that but
I wouldn’t do that you’re not alternative and interesting thank you I think you are but a good questions just come in Oh blaze says greetings from Alabama and yeah there’s a lot of people hi blaze and Heidi asked has anyone made a collection of cadenzas there is a collection of cadenzas that I found online and I couldn’t open have a look see if anyone can find that
I know there is a collection somewhere it will be amazing to make a collection of people’s cadenzas one maybe we should organ if it was a collection of the contenders that are that of you know coordinates that are out there someone’s got to sit down and write them all out right yeah that would be amazing so is there
Ricardo else is there any way not to have nerves while playing a cadenza now that’s a very good thing because you get to you get to dig it dig it dig it dig it dig it dig it dig it dig it whoa I mean sorry I can’t speak for professional employees own other than myself but I can certainly give the insight suit to to what
I’ve heard my students do or been on panels or whatever is the I have heard people get nervous when they get the kid to the cadenza because if the cadenza is so difficult it’s the thing that they’re most worried about and you’re playing on your own yeah so it shouldn’t be I have heard people do that where they put so much in cadenza they play that play the actual music fine you know in in three three and four get to the cadenza and and and
I’m so worried about that then get know-how so the moral of that story is make sure your head is not too hard for you yeah plate you stripped you know you don’t want to hear what you can’t that’s probably the main thing yeah okay do you have any more Mozart concerto questions because Annie actually gave me a really good one yesterday when we were we were texting she said what would you say when a student comes and says
Mozart is easy because I’ve had that before well not easy but they think Mozart 3 is easy mr. three is definitely not evil we had them here he said touch them this at the beginning you know people think that Mozart three is easy just because the range yeah that it’s in there’s nothing particularly higher there’s nothing particularly in though it’s it’s in that octave and a half that you play but actually to do to make
Mozart three sound interesting and and lyrical because it can’t get very regimented particularly most of most are three because it just it’s if that is very different and tips well I should amendments art three is is trying of Julie favorite by the way that’s a three is a lot of people actually don’t realize that they pay half play half of it in two four there aren’t b babita daddy that’s one of the things that you hear a lot people doing that and emphasizing middle of the bar when they shouldn’t do that and that that if you can get away from that and play over the
Body you you don’t want it you don’t it’s being for for either you know you don’t know actually what I trying trying to one of the interesting things that I have done not with with with number three actually but actually with number four but we talking about three for now but it doesn’t mean you could do with number three was actually to get with the invention of
Sibelius that the music program I got somebody to write the part out for me from beginning to end okay without any bar lines whatsoever and no dynamics gosh and so K so now just played that because you do find a lot of people emphasize no I haven’t done those that’s very like that yet but I’ve got the part that’s off for like that and you could and
I said I would suggest that people actually do they eat it did takes 20 minutes to do it on supposed to write the part I’ll take all the dynamics out of it all you know I’m just in the latest break off edition that’s only half the slurs really have anyway and and and all the bar lines out and it completely different and we don’t get weird we don’t certainly don’t get to four and then we don’t get for four we get longer say
Mozart three bumpy we never get exactly actually I’ve waffled on it would be easy to say try doing one try and do it in one that’s really actually really really good tip I should remind you the other thing that I find challenging and I found this preparing I hadn’t played a concerto literally in 25 years I’m not you know
I don’t like playing solo but for my Cubans I really wanted to do it and and when I went out on stage I had to be pushed out on stage by the way because I really did not want to go out there I mean had some back say it’s right your honor I don’t want to go you’re on and then
I got all I saw her phones and I thought oh that’s the aid it’s a terrible thing but they don’t have very good internet so they can’t post it so that’s okay so that they use that as their you know as their their lessons you know so but I found preparing for it I listened to Mozart three so many times here for
Academy auditions for PMF auditions everywhere I’ve played it so much well it’s not three second one was was the first piece I’d ever played to get that student mentality out of your mind to stop it from being in an audition piece to turn it back into a piece of music that’s why I love the Sibelius idea of yours to take out all the bar lines and and when people ask me how to do that my advice is you just got to start singing it again well that’s true if you’re singing you know you’re not actually thinking about cracking notes you’re just thinking about playing lyrically
It was singing live at you all the time and and that’s the same with with home playing and we do expend an inordinate amount of time just trying not to crack notes and unfortunately that makes us play in a very wooden stiff way and yes it is that is the hardest thing which is why most re-sod is to transcend just playing the right notes julie has to leave so
I bye Julie have a lovely day well I thank you for the sushi mill in Santa Barbara or she took you to sushi mill nice bye Julie thanks for joining us Jen says she thinks having gracious ends of phrasing can help it sound more classy people forget the very the tailing off yeah yeah yeah I mean that for me
I I’m constantly berating people to to try and play with these nice soft endings and not play again often than ending is on a bar line yeah but you wouldn’t it’s amazing what we get away with on the horn and if you heard another certainly heard a string player do that you’d think now that’s just bad play but do certain things on the hall and we don’t anything sort questioned it because we’re sort of fallen flat brass players but that’s something
I’ve learned a lot from from being my two string players is phrasing that’s not a bad idea how about I think I might do that I might go into a practice room with one of my favorite Berlin fill violinists organs it could be even cello and get them to sight-read that and see what they and see what they do with it that would be fascinating wouldn’t it absolutely right we’re gonna do that or is there anyone in
Berlin gonna come along and play it for me that would be great that’d be really cool um there’s a funny question from Tanner he says how often a cadenzas improvised on the spot as opposed to previously written or compose how would you feel about an improvised cadenza in a different style no not for me anyway there’s only a couple of people
I know who could do like a D when I thought he could do that actually the another I just just made a really fine recording of from the motorcycle shirt is on the hand tool isn’t Philip he’d stop he could do that he could do that because he’s got he’s got the brain to do that he can just then he plays all sorts of instruments and it’s like
I cut I mean my Cubans can pick up their horoscope and it’s it’s amazing but whether that’s a style of motor I mean yeah it’s it’s something which we can’t what we say is not the gospel you know we can only talk about our the way we see things which is very similar yes if you want to try something out and go crazy and try it out and see what the reaction is
I remem someone doing an audition here and there were a lot of hand stop notes the condemns and stuff and it was sort of almost disturbing because if you’re not playing on the natural horn okay but to play a lot of hand stop notes in a cadenza where you’ve played on the modern one it was a little odd but you know there was someone trying something new yeah
I don’t know so greeting from the Ukraine from Terrace and good evening from Tokyo from Tokyo horn girl and yeah I mean it’s really it’s really jose antonio dubrio says inspiring Diane is in Canberra Australia Humber we’re missing Belgium on my goodness is up that Daniel says greetings from the students of the brass Academy Alicante all our
Chico’s she got si Chico’s very good what else do we have what else have we got to talk about Mozart which is if you’re very good I’ve got Mozart balls for you oh I’d love one yeah you want one now cool you’re now yeah okay we’ve put a horn hangout sticker over the over the advertising because we thought we’d rather advertise so for those of you who don’t know what
Mozart bull’s eye could she hasn’t even eaten it a little bit they’re actually quite disgusting to be honest yeah if you never have one well I have but I don’t think this is just thing I want about one there they are nope they are marzipan and green stuff nothing and that you buy them all over and I just thought it was a nice decoration because we need a bit of decoration here in the probably in for don’t go on them actually the only thing
I wanted to finish up with it would sort of get into end to the questions though on there that I do think that what’s impacted negatively how we played yeah you can have my Mac motor I’ve gone off in shorts it’s um you know we’re playing on so much bigger equipment these days then you know the hand hunter smaller bore smaller bells and it is much easier on authentic instrument to get a lot of different colors on the instrument you mean you mean the bell of the natural horn
I mean obviously it’s smaller than our Bell yeah it’s also lighter yeah and the cylindrical bore is smaller you know we’re playing him that Alexander’s 12.1 millimeter bore but these are probably about eleven point three I think what rock on for you so that yeah when I say the cylindrical bore I mean you know this we talk about the belt well
I am like the cylindrical bore is a lot smaller honor on a original or yeah it gives a completely different sound um and also the actual ball size of the Bell where your hand is is much much much yeah it feels quite big this this hosted where it feels actually these aren’t it’s very green and he did but he did a couple of different barrel sizes and this is the classical one
I think but generally the ones that I’ve seen a compared to a modern horn are smaller and with a smallest ring clinical bore you range of colors yeah I’m a partly because the whole thing brass is up a lot quicker yeah and let’s not forget that the dynamic levels that the original agents are playing at is much lower than than our modern is by the orchestra you know they’re they’re modern orchestras are scrubbing away and yeah you’ve got a really void it’s now things are coming back
I mean let’s not forget I mean I remember the days of doing doing some concertos you know where that 10 first violins yeah you know 10 a but it what is the ideal for Mozart who could shed or what is the idea I I just had I just had 10 it was too many actually too many for me it’s at only six six six that’s just naked six five four really yeah three two
I thought what you’re gonna do yours with yep oh okay absolutely it doesn’t need to be that big he’s actually I know there’s a lot of oh six five four three two yeah Wow okay well okay that’s really I had ten eight six three three weeks and I thought what that would have been a bit higher big big you know especially at modern pitches it yeah okay and at for my experience is that the lower lower pitch you know for for 20 something and
B you know you can get a lot more sank you do because it doesn’t sound so forced and brittle or that the modern pitch - I just not talk about pitch here and because this with a very sharp very proper pitch and tonight in your content you’re going to be very flat very yeah but it’s for from which he won it okay and what are you 444 is officially 443 but on a 40 yeah so um but
I know these sharper pitch it does make a difference it does make a difference so that’s my whole point being is that you know on the modern horn yeah is it that’s exactly you have to be careful if not turning into Marla yeah I often say that it’s a people look it’s Mozart not mother yeah no but too timid is also not not good you’ve got to get over that you’ve got it anyway it’s you’re like a singer in these things yeah do any of you have any more questions for us about
Mozart otherwise Tim and I are going off to have another cup of tea because you’ve got a rehearsal very soon in yeah about 20 minutes and and if you have any more questions if you’re watching on Facebook we need the questions here guys on the on the website otherwise I will give you a copy of the chat and you can answer the models if you want it’s a what would you say to a student approaching emotes are for the very first time there’s also catch
I know sorry that’s a really that’s a mean one I’m glad you didn’t ask me that yeah okay I’ll turn around there yeah thanks what would I say as we’ve got the music this is the very first thing you have played apparently yes it was number two so what did your teacher say to you the first time in this book it was in a blue book of horns so there’s primary horn studies okay and
I don’t even really I don’t think I realize it was from Mozart but he told me to breathe I remember and I found that slower I find only even the concert I found bad bom bompa for some reason I found that hard you have to really put quite a lot of air through there for me and yet sort of rule yeah
I mean that that that goes into what I was saying early on about how I’m playing the hand torn of you know hey you have to bear that in mind when you’re playing it on the modern horn because what you’ve just saw is da the third arm bomb three of those notes the cash stopped really yeah you’re right but the bit that you’re worried about aid really sticking out it doesn’t it doesn’t do that on the hand tool it’s only a half stop things
I know that it’s very uneasy to make that a nice soft note with you Diane tan asked you have any comments on the Leopold Mozart concerto I don’t personally I’ve not played it I haven’t either is there a concerto Safra hosepipe yes there is yeah yes there is not also the appropriate side yeah who’s piped strings I love that a
Margaret says are you guys gonna play well um a Tim’s horn is firmly packed in this case I’ve got a warm-up in a minute I’m will be playing but off camera so I’m gonna go more mark and anyway we’ve just we’ve got Mozart cool girls in our in our teeth um did you like him I do like them yeah you do well good they’re there for you but the team might we’ve got
Chris I’ve got Thomas you’ve got George and Jakob doing the the so your projects his things that your mozart project is starting next year yeah we’ve had that we’ve done all the rehearsals we got all the arrangements done we rehearsed it and performed it already in Havana I’m a recording at the beginning of January so it should be out it’s
Beethoven year so I thought that’s the because everyone’s gonna be thrilled to not have something okay Beethoven ish so it’s gonna be three the first one you’re going to do yeah and then this and all the other stuff in there and the role it’s a team humble and also the Havana horns are going to play okay Katie
Coyle and mumble okay which is so there’s gonna be a few CDs coming along well just this one for now yeah you know I think we’re gonna bankrupt us all doing this one but we’re making a documentary about it as well good so they’re just amazing I di I love teaching students that are like sponges with with them you don’t have to say okay put your tooth here and your lip there and you’re turning it you just say you probably play it for them
I say play it like that and they play it back to me and then when they just can musically they can just musically copy so well and when it’s sounding good of course it’s all working for me you know yes it’s great what’s lovely it’s really lovely a Greg just woke up from LA hello Greg good morning
Greg Greg ruse a second horn in oh yes you are a failure Greg tell us please who your favorite horn Mozart on concertos which which CD which CD which recording which your favorite tell us what almost finished so good that you are good that you just woke up heidi says any thoughts on playing the quintet well we love the quintet we it’s fantastic piece is it harder than the concertos um it’s different it’s different um it’s musically it’s um you know there’s a lot to get your teeth into and you’ll you know you’re playing with it’s been intimate relationship with the strings that’s sitting next
You oh I like playing the the quinta actually you know the a trio version with piano and violin no it’s really nice really really nice and I find the tuning easier with Kannon violin and with the whole quintet oh well the problem with the home quintet is all is where’d you put the violas yeah when you’re playing it
I’m wedged right in the hole a lot of people with the hole said we got a quartet home sitting out there but that’s no good for the audience once a she said I have a cup did it lasts a couple of times in the last year’s where I sat in the middle at one violas either side of me and cello and violin just that’s that’s always the thing you know why did he write to view this well why why do you think of it two years no question but before
I ask you a question I’m greetings from Mexico from Carolina Matt hi slip says hi Matt he says he loves your sound and Greg says good morning Ignatz your Morabito says hey from chile do you remember we play the flashmob window dude yeah now so all our commerce stuff and a good question from James just come in about what do you recommend students about articulation for the third movements of
Mozart of all the Mozart’s hard to keep it light and jaunty that’s not too hard again yes you’ve answered it we’ve both answered that in different ways but I would pontificate say don’t play in three eight and you would say you know it’s got to be in one yeah well we’re playing it in five four for the manbo but anyway you will music you showed me earlier on it’s a surprise um
Greg’s favorite is Dennis brain but there are so many I have a question you know like Lloyd Cape or like a blade droid gave you with a cheese monger yeah and he was he was a friend of Mozart’s although Mozart insulted him all the time and the concertos except for number three they’re not quite sure if number three was written for him but all the others were yeah and they think maybe that’s why number three is a little bit more musically a little bit more musical depth because it wasn’t for him but nobody really knows for sure there are these little points in the last
Movement with the with the Fermata like like here and three where the light cape would be like what would what do people do there what would you do then would you put a little fuss like especially at the end you know up up up up up up up up a bomb that but that they I am but
I don’t but Barta Barta but but before it gets the fine yeah I mean I I’m not going to predict it ends at now I’m just gonna treat cadenza though okay people put in you know not cadenza they put it they put in an extra bar or something on their own if i was really honest the only reason i’m going to do that my own personal preference is for that and something it’s never really convincing for me to put anything in there it sounds contrived
Jen Andrew yeah Greg would you call again eNOS I mean this one music so for such a wonderful thing isn’t it there’s there is scope to do things I might say sound contrives and somebody might say my able to sit here and yeah their own views because there’s no you know one totally you can’t do sit that’s the thing that’s the moral of this hangout there is no one one right or wrong - don’t play
Mozart like Strauss but well I say mote sight like Marla that’s okay and some of it has to be a little bit you know big and beefy yeah but not some I mean you often hear that the end of the first movement and number four yeah you know that sort of Strauss Mozart all in one thing do you play with with the orchestra do you play some of the two
T’s as well yeah yeah yeah that’s why in the third I was very grateful he has a little bit to play with them and also the very last the last notes of the first movement are usually quite getting to play yeah okay now the questions are coming we’re actually two minutes away from finishing guys Breanna says we all want a lesson with
Tim dancers in concerto three and four that’s what I call warm-up measures at the beginning the first movements before the main to side is it acceptable to omit those I think it is MIT or play yeah it’s everything you know you’ve got to work out with the earthiness okay leo says do you have any tips are achieving a relaxed and focused sound is it all in the air pretty much it is all in the air it was nice actually
I don’t but it’s not all in the air center of the sound often comes from make it I mean I say to my students okay let’s just say for example the way from low C to top C and all the notes in between bit even if one note is only a semitone away from the one you’ve just played it is a slightly different embouchure and it’s slightly different amount of air you’ve got to put through the whole you know and so it’s making sure we all talked about air we know that we talk about it infinitum but it’s also making sure that the embouchure is
Centered in the middle of the note because you can actually play quite well one sort of only 85 percent the right embouchure and I’ve talked to my students and you a lot about that you can hear it when somebody’s on the exact right right embouchure but the right amount of air the sound just blossoms so so the thing
I add to my shoes we all know about the air is to try and find the center of the embouchure and get the right we talk about air pressure but I also talk to my students about embouchure pressure that means the bit around here as well so that’s it’s it’s solid so that will give you a good center if
I know that there’s a subject for another hangout thank you but thank you all so much for joining us today really it’s been amazing also to have Tim here he’s got to go and warm up I’m gonna go and listen give Simon a big hug can’t wait to see your section is really good thanks for joining us if there are any more questions then yeah write him in the chat we’ll see what we can do to answer them but it’s been fantastic to have you thank you very much to my amazing
I wish I could turn the cameras around and show my my amazing team if I’m gonna take a picture of you all right now so is everyone gonna wave yeah ready 1 2 3 gotcha every waving too because I’ve got them all yeah thank you to very very much and and let’s have some more Mozart balls wish you all to join us you’ve got one here yeah see you on the next life one hang out not quite sure where
I win but these short be assured there will be one I had some Tim thank you for joining us and letting us use your a5 stream platform that was amazing and like alexander’s for helping our sponsor the horn hangouts oh I’ve got a present for you speaking of which look new merchandise what is this look at this this is cool this is to polish your horn look
Oh what sorry Luke and I’ve got the first one of us you got the mislead look at that yeah not quite the first one I’ve been handing him out all summer all right ok but you’re the first one in the yellow one in the London the first one today yes ok thank you bye everybody bye see you soon bye you
Horn Hangouts are created by Sarah Willis of the Berlin Philharmonic. Brassbanned is a proud long-time collaborator and streaming partner.
