On the Horns of Greatness
Hello! Welcome to my brand new blog! I'm currently the second horn of the Louisiana Philharmonic Orchestra. This will be my second season with this amazing group of musicians and I couldn't be more grateful to be a part of it. In order to get the most out of my musical experience and perform my best, I'm a strong believer in learning a ton about each piece before we play it. No matter how well I *think* I know a piece, there is always something new to learn, recall, or even hear, that will make my experience and hopefully our audience's experience a little more special. So I hope you enjoy my musings on life as a second horn player!
Beethoven and Mahler are two of my desert island composers. Of course it's a difficult choice, but if I had to choose a couple composers to listen to exclusively for the rest of my life, Mahler and Beethoven are making the cut. Fortunately for me and the city of New Orleans, LPO is opening our season with both of them. We've decided to include both Beethoven's most popular piano concerto and Mahler's (arguably) most popular symphony (definitely the most recorded if nothing else).
Beethoven made a name for himself in Vienna as a virtuoso piano performer. This is what set the stage for him to be able to compose his own concerti. He premiered them all himself except for the 5th. At the time that he was writing it, his hearing was just too far gone to be able to premier it himself. Even if he could play the part, he wouldn't be able to coordinate with the orchestra and stay together. To give you some context, this concerto was written in 1809, during the French invasion of Austria, a very unsettling time for the country and our composer as well. Having to take refuge in his brother's basement from an onslaught of cannon explosions is probably not an ideal stage for composing. On a brighter note, Beethoven had just received a new and improved piano while he began work on this final concerto. The earlier instruments, harpsichords and clavichords, were smaller, providing less notes available, and limited in their dynamic capabilities. The newly invented fortepiano, Italian for "loud-soft," that we play on today, had a larger set of keys and was given an iron soundboard and steel strings to allow every note to be played at any dynamic. As Beethoven was known for pushing his pianos to their maximum possibilities and having keys fly off while playing, this was clearly what he needed in his life.
This will be my first time playing Beethoven's "Emperor" concerto, the rare (only?) piano concerto with 2nd horn solos! He must have had an exceptionally talented second horn in his orchestra. Usually the only plausible reason for writing solos for someone other than the principal was because he enjoyed a specific horn player's playing or was close friends with him. The same is most likely true for the massive 4th horn solo in his 9th symphony. Either that, or he really wanted to stick it to his principal horn!
Anyway, the Beethoven will be a vivid expression of virtuosic flair, one of the most beautifully serene and sentimental second movements, and it all ends with a bang and a melody you'll be whistling all week long.
"Nobody understood it. I wish I could conduct the first performance fifty years after my death."
It's incredible how accurate Mahler was with this statement. Mahler was known during his lifetime primarily as a conductor. His compositions gained intense popularity many decades after his death and he probably would have had a much better reception from audiences today who gather excitedly all over the world to hear Mahler symphonies as they are some of the most emotionally gripping, epic masterpieces written. Mahler put his soul into everything he wrote and no matter how much or how little you know about classical music, audiences can feel it.
Mahler's 5th is written in five movements, instead of your typical four, but the most common interpretation is to group it into three parts. I. the first movement's tragic Funeral March and the underachieving climax that is the 2nd movement, II. the virtuosic 3rd movement scherzo that is essentially a horn concerto and III. the 4th movement Adagietto, which is Mahler's love letter to his new wife, Alma; and the triumphant 5th movement finale.
I'm going to interrupt the flow here for a little side note.
I have often heard from fellow professional musicians that the last thing they want to do when they come home from a day of playing music is listen to more music. Some of us have other hobbies, families to care for, or an abundance of books to read and baseball games to watch. I understand and wholly embrace their lifestyles. However, I like to take a much different approach. Some may call me young or overly optimistic, but as I drove for 12 hours this weekend (to play more music in my former home of Houston), I had ample opportunity to listen to both of these pieces, roughly 3 or 4 times each. There are a plethora of things that I can only absorb from deliberate listening sessions. When we're rehearsing, we are multitasking like crazy and there is no way I'm going to hear every line that is going on around me, especially in a Mahler symphony. It's easy to get wrapped up in your own part or section and forget what the composer is trying to say through his/her music. For me, a focused listening session (without my part in front of me) is what gets me excited to play. After all, hearing music is what gets most musicians into the business, not shoving metal into our faces or scraping reeds, so why give up the best part?! I hope I never give it up. This is what I gained from my most recent listening sessions:
If you're not versed in Mahler's writing or this symphony in general, part one can be overwhelming. With its constant recurring cacophony, viscous brass chords, treacherous high woodwinds, and melodies upon melodies, it's a seemingly never ending tragic journey. The opening trumpet call is the motive that you will hear over and over again, in different moods and derivations. This is the first symphony Mahler wrote that was not programmatic music, although the main theme is based off of one of his songs, which is the story of a drummer boy about to be executed. Mahler himself said in a letter to Max Kalbeck, "From Beethoven onwards, there is no modern music that has not its inner program." So, perhaps there was somewhat of a story going on in his head after all. In February before Mahler had begun composing his 5th, he suffered a severe hemmorhage that was nearly fatal. It seems that most of the work he was occupied with in the summer after this, his song settings, Kindertotenlieder (Songs for dead children) and Rückerlieder, and the first 2 movements of his 5th symphony are much darker and focused on the theme of death.
Part 2, the Scherzo, is almost entirely focused on the obligato solo horn part. The movement in whole is full of joy but also has sections of deep reminiscence and thoughtful sombre. Mahler wrote that this movement was depicting, "a human being in the full light of day, in the prime of his life." Mahler was in fact at what could be considered the prime of his life at this time. After recovering from his near death experience, In 1902 he quickly married Alma Schindler, the most sought after woman in Vienna and was at the height of his professional career directing the Vienna court opera and the Vienna Philharmonic. This movement is extremely challenging and exciting to play. It can be nothing but fun if we let it be!
Part 3 starts with the heart wrenching Adagietto. This is not a movement you can really listen to in your car. First of all, it's too soft for the highway and my Honda Civic's speakers at their highest volume. Second, it's scored only for strings and harp, so again, it's pretty gentle in nature. This is music that you need to lie on the floor, close your eyes, and let it wash over you. It is closely tied to his setting of the poem Ich bin der Welt abhanden gekommen (I am lost to the world), and if you don't know this song, please do yourself a favor and go listen to it now! It's one of the most gorgeous, moving, emotional outpourings of music I know of, so that really says something about this piece! It is said that Mahler composed this shortly after meeting Alma Schindler and is meant as a love letter to her. As we rehearsed this movement during the week, I had trouble figuring out how exactly it made me feel. It strikes me as having a lot of darkness within the deep love that he's sharing very publicly with Alma. It's not simply "sad," but it has elements of longing, desire, and confusion.
The Final movement is an incredible triumph. It opens with solo winds playing interjections of folk songs and then sails into a lively, upbeat section of fugue mixed with the common sonata form. He utilizes themes from all of the previous movements within the finale and transforms them into joyous energetic, almost unrecognizable melodies. This is said to be Mahler's last composition that shares his pure joy and contentment, after which he was overcome with heartbreak (mostly from the tension in his marriage to Alma.) So, share in Mahler's joy while it still lasts!
Put on some headphones, lay on the floor, go for a run, or better yet, join the LPO this week, Thursday, Friday, and Saturday night for a very special evening of Beethoven and Mahler.
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| Opening night 2018 playing Beethoven 9 (missing our fearless leader, Mollie!) |
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| Beethoven posing, hard at work |
This will be my first time playing Beethoven's "Emperor" concerto, the rare (only?) piano concerto with 2nd horn solos! He must have had an exceptionally talented second horn in his orchestra. Usually the only plausible reason for writing solos for someone other than the principal was because he enjoyed a specific horn player's playing or was close friends with him. The same is most likely true for the massive 4th horn solo in his 9th symphony. Either that, or he really wanted to stick it to his principal horn!
Anyway, the Beethoven will be a vivid expression of virtuosic flair, one of the most beautifully serene and sentimental second movements, and it all ends with a bang and a melody you'll be whistling all week long.
"Nobody understood it. I wish I could conduct the first performance fifty years after my death."
It's incredible how accurate Mahler was with this statement. Mahler was known during his lifetime primarily as a conductor. His compositions gained intense popularity many decades after his death and he probably would have had a much better reception from audiences today who gather excitedly all over the world to hear Mahler symphonies as they are some of the most emotionally gripping, epic masterpieces written. Mahler put his soul into everything he wrote and no matter how much or how little you know about classical music, audiences can feel it.
Mahler's 5th is written in five movements, instead of your typical four, but the most common interpretation is to group it into three parts. I. the first movement's tragic Funeral March and the underachieving climax that is the 2nd movement, II. the virtuosic 3rd movement scherzo that is essentially a horn concerto and III. the 4th movement Adagietto, which is Mahler's love letter to his new wife, Alma; and the triumphant 5th movement finale.
I'm going to interrupt the flow here for a little side note.
I have often heard from fellow professional musicians that the last thing they want to do when they come home from a day of playing music is listen to more music. Some of us have other hobbies, families to care for, or an abundance of books to read and baseball games to watch. I understand and wholly embrace their lifestyles. However, I like to take a much different approach. Some may call me young or overly optimistic, but as I drove for 12 hours this weekend (to play more music in my former home of Houston), I had ample opportunity to listen to both of these pieces, roughly 3 or 4 times each. There are a plethora of things that I can only absorb from deliberate listening sessions. When we're rehearsing, we are multitasking like crazy and there is no way I'm going to hear every line that is going on around me, especially in a Mahler symphony. It's easy to get wrapped up in your own part or section and forget what the composer is trying to say through his/her music. For me, a focused listening session (without my part in front of me) is what gets me excited to play. After all, hearing music is what gets most musicians into the business, not shoving metal into our faces or scraping reeds, so why give up the best part?! I hope I never give it up. This is what I gained from my most recent listening sessions:
If you're not versed in Mahler's writing or this symphony in general, part one can be overwhelming. With its constant recurring cacophony, viscous brass chords, treacherous high woodwinds, and melodies upon melodies, it's a seemingly never ending tragic journey. The opening trumpet call is the motive that you will hear over and over again, in different moods and derivations. This is the first symphony Mahler wrote that was not programmatic music, although the main theme is based off of one of his songs, which is the story of a drummer boy about to be executed. Mahler himself said in a letter to Max Kalbeck, "From Beethoven onwards, there is no modern music that has not its inner program." So, perhaps there was somewhat of a story going on in his head after all. In February before Mahler had begun composing his 5th, he suffered a severe hemmorhage that was nearly fatal. It seems that most of the work he was occupied with in the summer after this, his song settings, Kindertotenlieder (Songs for dead children) and Rückerlieder, and the first 2 movements of his 5th symphony are much darker and focused on the theme of death.
Part 2, the Scherzo, is almost entirely focused on the obligato solo horn part. The movement in whole is full of joy but also has sections of deep reminiscence and thoughtful sombre. Mahler wrote that this movement was depicting, "a human being in the full light of day, in the prime of his life." Mahler was in fact at what could be considered the prime of his life at this time. After recovering from his near death experience, In 1902 he quickly married Alma Schindler, the most sought after woman in Vienna and was at the height of his professional career directing the Vienna court opera and the Vienna Philharmonic. This movement is extremely challenging and exciting to play. It can be nothing but fun if we let it be!
 |
| Gustav and Alma Mahler, the happy couple.. |
The Final movement is an incredible triumph. It opens with solo winds playing interjections of folk songs and then sails into a lively, upbeat section of fugue mixed with the common sonata form. He utilizes themes from all of the previous movements within the finale and transforms them into joyous energetic, almost unrecognizable melodies. This is said to be Mahler's last composition that shares his pure joy and contentment, after which he was overcome with heartbreak (mostly from the tension in his marriage to Alma.) So, share in Mahler's joy while it still lasts!
Put on some headphones, lay on the floor, go for a run, or better yet, join the LPO this week, Thursday, Friday, and Saturday night for a very special evening of Beethoven and Mahler.
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