Re comparative difficulty: 1. From the standpoint of how much literature is to be learned, the violin and piano each have a great deal more than most others, and it is a non-trivial difference. 2. From the standpoint of achieving the minimum professional orchestral capability, the double reeds, especially the oboe, have the challenge to the performer of learning to make and maintain the perishable reed "mouthpiece". I understand that better premade reeds are today available for purchase than in years long past, but nonetheless, this is an issue not to be ignored. Nor are single reed instruments void of similar concerns, although to a lesser degree. 3. All brass instruments have a theoretical compass of similar size to the horn's, but orchestral literature rarely if ever requires of the trumpets, trombones, or tuba the same use of the horn's 4+ octaves. And the tessitura (typical and comfortable playing range) of the horn lies higher up in its compass, where the pitches that may be selected by lip alone lie closer together. This factor all by itself is historically responsible for the horn's reputation as being a bit more treacherous to play than the others; it is not really a deserved reputation, in that, at virtuoso levels, mastery is expected of whatever vagaries an instrument has, and there exists no shortage of players with such mastery. In respect of scope of orchestral literature, the horn has indeed more than the other brasses. They all have some devilishly difficult places in their literature, however. The truth is, that to play at the level of this orchestra, or Berlin, or Vienna, or London, or the US "big 5", these days you have to play indistinguishably from perfectly, both technically and musically, and getting to that level is hard. WHEN you are that good, any individual performance might be said to be "easy" for you, in that you can produce it on demand, over and over.
One of the best concert experience I ever had: Beethoven 3 in Goldener Musikvereinsaal with Vienna Symphonic with Wiener Horns.. just such an amazing sound!
Dominic, pity we did not get some information about this very nice English lady.... i.e. where and when she studied, what part of the UK she comes from etc... perhaps next time!! PS A played example of the Eroica's horn trio section, by Katy, even a short one, would be much loved. All good wishes,.
You can find more information about our principal horn Katy Woolley on our website: www.concertgebouworkest.nl/en/katy-woolley. Including a very nice interview!
Re comparative difficulty:
1. From the standpoint of how much literature is to be learned, the violin and piano each have a great deal more than most others, and it is a non-trivial difference.
2. From the standpoint of achieving the minimum professional orchestral capability, the double reeds, especially the oboe, have the challenge to the performer of learning to make and maintain the perishable reed "mouthpiece". I understand that better premade reeds are today available for purchase than in years long past, but nonetheless, this is an issue not to be ignored. Nor are single reed instruments void of similar concerns, although to a lesser degree.
3. All brass instruments have a theoretical compass of similar size to the horn's, but orchestral literature rarely if ever requires of the trumpets, trombones, or tuba the same use of the horn's 4+ octaves. And the tessitura (typical and comfortable playing range) of the horn lies higher up in its compass, where the pitches that may be selected by lip alone lie closer together. This factor all by itself is historically responsible for the horn's reputation as being a bit more treacherous to play than the others; it is not really a deserved reputation, in that, at virtuoso levels, mastery is expected of whatever vagaries an instrument has, and there exists no shortage of players with such mastery. In respect of scope of orchestral literature, the horn has indeed more than the other brasses. They all have some devilishly difficult places in their literature, however.
The truth is, that to play at the level of this orchestra, or Berlin, or Vienna, or London, or the US "big 5", these days you have to play indistinguishably from perfectly, both technically and musically, and getting to that level is hard. WHEN you are that good, any individual performance might be said to be "easy" for you, in that you can produce it on demand, over and over.
One of the best concert experience I ever had: Beethoven 3 in Goldener Musikvereinsaal with Vienna Symphonic with Wiener Horns.. just such an amazing sound!
Hopefully you mean the Wiener Symphoniker or the Wiener Philharmoniker ? What is Vienna Symphonic...?
The second horn part in the trio really does require lip gymnastics.
Ms. Katy should have the french horn recital at Japan!!!!🙏
Well, she's in one of the best three if not the best orchestra in the world, I think she's doing fine :D
Dominic, pity we did not get some information about this very nice English lady.... i.e. where and when she studied, what part of the UK she comes from etc... perhaps next time!! PS A played example of the Eroica's horn trio section, by Katy, even a short one, would be much loved. All good wishes,.
You can find more information about our principal horn Katy Woolley on our website: www.concertgebouworkest.nl/en/katy-woolley. Including a very nice interview!
Looking forward to listening to that music 🎵
Con Corno - a toda madre estara todo esto!!! Gracias.