Looking Back at the Philadelphia Orchestra's Edited Visit to Mongolia
The Philadelphia Orchestra is back from its debut in Mongolia, where planned full-orchestra concerts needed to be canceled due to a nation-wide financial crisis. Instead, a contingent of 18 musicians spent two days in the capital city of Ulaanbaatar. Now, the Philadelphia Inquirer's David Patrick Stearns asks what this could lead to.
Women Brass Players in the US - Part 2: 1946 to present
Female players on all instruments gained considerable acceptance during World War II, as detailed in Part I of this article (The Horn Call, May 2016), but with the war over, many of the old arguments against women players reemerged. While barriers had been eroded, they had not ceased to exist, and the joy of the American public at the return of its soldiers translated into a (sometimes voluntary) loss of orchestral jobs for women musicians. The 1950's were a regressive decade for working women, and orchestral players were no exception. Several decades would pass before the number of professional players again reached the levels seen in the early-mid 1940's.
Montone Plays Strauss: The Philadelphia Orchestra on WRTI
Join us on Sunday, August 23 at 1 pm for The Philadelphia Orchestra In Concert on WRTI. In this January, 2015 concert, Christoph Eschenbach, Philadelphia Orchestra music director from 2003 to 2008, returns to Verizon Hall to lead this all-German program. And the Orchestra’s principal horn Jennifer Montone plays the Richard Strauss Horn Concerto No. 1.
Medical Issues: An Accidental Journey
Not all facial injuries affecting horn players are the result of overuse. my injust was the result of a seemingly minor car accident. Unfortunately, it affected my job as principal horn in the St. Louis symphony for most of a season; fortunately I am expected to completely recover.
Orchestral Notes: Bruckner Symphony No. 4
An Interview with Jennifer Montone; Richard Chenoweth, Series Editor
Bruckner’s Symphony No. 4 “The Romantic” is one of his often-performed symphonies. It was one of the few works of his to receive a fairly positive reception at its premiere and has since remained in the common orchestral repertoire. One of the reasons it is more often performed is because it calls for a smaller instrumentation, with only four horns and no tuben – his popular seventh through ninth symphonies call for eight horns, four of those also performing on Wagner tuben.
Anton Bruckner (1824-1896) achieved renown as an organist, recitalist, and teacher based in Vienna. His initial compositions were sacred in nature, a reflection of his deeply held spiritual faith. An ardent disciple of Richard Wagner, Bruckner’s symphonies were Wagnerian in scope, sonority, and length. The majority of his symphonies were not well-received at their premieres and these works have many versions, as his friends often suggested cuts and revisions to make them more popular with audiences and critics.
Once Upon A Time
Jennifer Montone’s path from ordinary to exceptional inspires students
BY RUOKAI CHEN
For every handful of musicians smitten by an instrument when hearing Britten’s Young Person’s Guide to the Orchestra, another group will claim Prokofiev’s Peter and the Wolf. The elementary Let’s Go Band, by Andrew Ballent, may not be of the same caliber, yet it introduced fourth grader Jennifer Montone to distinctive sounds, thanks to her sister, Michelle. Michelle played a tape recording of her band’s concert performance for her young sister and showed her pictures of the instruments. Jennifer chose one she remembers as sounding and looking “pretty”: the horn.