Significa #23

ANSWERS

1. Name the hornist presented with a "gold LA Horn Club record, framed and inscribed" plus an honorary lifetime membership to the Los Angeles Horn Club? He studied horn with Wilhelm Frank and Leopold de Mare and conducting with Albert Coates and Eugene Goosens.

   Wendell Hoss

2. Name the well known East Coast hornist/composer who, with three colleagues started the "Hornists Nest?"

   Lowell Shaw

3. This one will be difficult to write. This hornist, a Hungarian, played primarily in Swiss orchestras, except for three years of so that he spent in the USA where he spent one year as first horn for the Denver Symphony Orchestra in 1952 and two additional years with various New York orchestras before returning to Switzerland. His teachers were F. Romagnoli in Hungary and Mason Jones in the USA. Who is he?

   Albert Klinko

4. This gentleman is widely known as a hornist, composer, and musicologist. Born in Vienna in 1907, later to become solo horn with the Municipal Orchestra of Helsinki, the le Orchestre de la Suisse Romande, the Philharmonic State Orchestra of Ankara (Turkey) and finally solo-hornist with the Great Vienna Radio Orchestra from 1944-1953. After that he concentrated his efforts in Musicology and Composition Who was he?

   Dr Ernst Paul

5. Mix and Match: Authors are below

   Hermann Baumann

   Barry Tuckwell

   Michael Thompson

   Harold Meek

   Published quotes by famous hornists:

   1. "The overriding result (of the blindfold test) was that a player sounds the same no matter what horn he is playing..."

      Barry Tuckwell
      Horn Call, May 1972, p.74

   2. "This confirms many years of observation at close hand in the orchestra world" (re. statement 5a above)

      Harold Meek
      Horn Call, May 1972, p.74

   3. "Most important of all, do not listen to anyone who tries to tell you that such and such a horn makes a wonderful sound. Horns don't make sounds; players do."

      Michael Thompson
      The Horn, Winter 1996, p.33

   4. "A cracked note on the F horn is charming, on the Bb horn it is unfortunate, but on the F-alto, it is a disaster!"

      Hermann Baumann
      The Horn, Winter 1996, p.33

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