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NZ-based Private Investigative Author & Blogger

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Happy Memories: The French Horn

15 January, 2022 by dennis 3 Comments

Among the many things I have tackled in life is a teenage period that consisted in playing the French Horn (a classical orchestral instrument dubbed the hardest instrument in the orchestra – and for good reason too!). In a flash-back to happy memories I post here a couple of versions of “Tchaik Five” played by a true master and global hero Stefan Dohr of the Berlin Phil. Not getting the lingo or the drift? Please let me explain and give you a little edumacation in the art of the classics.

Note the hornist here looking down at his music then up at the conductor. At these levels of expertise they can all do it in their sleep, neither needing to read the dots (written music) nor following a conductor but it is a memory item, and a thing that communicates professionally and non-verbally. Stefan is playing what we call a double horn here – an F and Bflat instrument which gives him greater control of the sound and you can see him flick between the two as he plays higher or lower notes. We normally have a common cut over position where we use one pitch for the low notes and the other for anything above that cut over. We switch between the two with a thumb lever and any of the three lengths of tubing (two layers) are added to an open note harmonic by pressing down the first three fingers in any combination we need. Our forefinger lever adds two semitones, the second middle adds one semitone, and the third ring finger adds three semitones to whatever harmonic we select with the tension in our lips, and air control. Combinations are also possible so that lever one and three makes five semitones and two and three makes four semitones. Check the different lengths of the tubes and this should make sense! Having two ranges of harmonics to choose (F & B flat) from plus this combination of valve controls gives us a full chromatic range from low to high, different from the old hunting horn that only had harmonics to choose from. Each note however requires different wind and lip adjustments to get it sounding right so it is not as simple as ‘pressing the buttons and just blasting away’ like a piano or a kettle-drum! We control pitch (overall tuning) by way of sliding tubes. We control the pitch of each lever by sliding the tuning tubes seen in the middle of the photos and at all times we use air flow, lips and hand position to adjust all aspects of the sound note by note, second by second. Trickey eh? Michael McLellan circled in the St Matthews Orchestra photo.

For those who follow me to keep up with true crime, conspiracy and even the world of faith applied, sorry. This post brings in a little culture of the classical music variety.

Tchaikovsky was a Russian composer who wrote one of the most amazing French Horn solos ever, the second movement of Tchaik Five. In the industry we call it Tchaik Five because it is Tchaikovsky’s Fifth Symphony, and the Berlin Philharmonic (the Berlin Phil for short) is recognised as a long-standing top tier orchestra on the global stage. The US, has it’s own orchestral and French Horn sound traditions and has its typical ways of doing things – big loud and somewhat raucous to me to be honest. So too do the French have their own style – a little tinny, narrow and corney for my liking, the British and the Eastern bloc also have their distinctive orchestral sounds.

Englishman Dennis Brain too had his own style and an early following but he was killed in a car crash decades ago, so his memories on vinyl are very limited. His genius was that he was a natural player, able to make any old axe sing, an ‘axe’ being a nickname we use in the industry for a horn.

Germany however has it’s own unique sound which is a softer, crisper, more middle of the road – one that in terms of hornists (French Horn players) across the globe, two names stand out – Herman Baumann and more recently Stefan Dohr. Top professionals. Top!

These two clips come from the Berlin Phil – one from 2008 and another a decade later. Stefan is a true professional, pulling the piece around beautifully in both renditions. In my teens, I played this in the Christchurch town hall and was later lifted enormously by both conductor and members of the audience who consciously sought me out afterwards to note my “beautiful musical expression”, “professionalism” and indeed “perfection” (if that can ever be applied to a subjective art). As an insecure teenager though, I lapped up the praise, being on a high after a “professional on-stage” performance. It does it to you. It’s also highly addictive.

As a passionate person (even back then) and having been raised by parents who could both have been professional musicians if they chose to be (they didn’t) I was a natural to bring in expression into the classics. I did, from the age of 13 to 20, working my way through the Auckland Junior Symphony Orchestra to be its lead hornist for a few years.

We have four horns in a typical orchestra, identified as the first to fourth (from left to right as we look out of the stage). The first and third horns are ‘high’; the second and fourth ‘low’. Supposedly the first horn gets all the solos because he (or she) is the best player. Politics, age, tenure and other things though can influence this a bit and there was one player who was more technically capable than me for a short while but I was probably suited to be the first horn, trustworthy, reliable and always there both musically and professionally. It is the job of the first horn to lead with a melody, the second horn to follow – typically with a harmony. Third and fourth follow suit.

My teens were a period of severe personal difficulty with a high IQ but chronic inferiority complex but music brought me healthy social interaction and personal success that balanced this nasty self-esteem issue. At the age of 19, I continued in my quest for meaning and purpose by continuing to play the French Horn professionally in the Auckland Symphonia under Juan Matteucci resident conductor until I married. At that time I gave up playing professionally when turned my musical interests to self-pleasure via the piano. It has stayed there in the decades since with my aversion to public performance remaining strong.

I really upset my father for giving up the French Horn as we had just ordered (and paid for) a Conn 8D, which was an expensive investment back in those days. The Conn was America’s best known manufacturer and the 8D was a large, big sounding ‘beast of a machine’ that we were all going to enjoy getting our teeth into until I decided to marry and get out of the professional music scene. One of those missed opportunities in life I guess but things went otherwise.

The French Horn – fondly nicknamed a plateful of brass spaghetti – is difficult to play because of a ‘middle of the road’ set of harmonics. The trumpet and the tuba for example are much more restrictive in that their wider and narrower range of harmonics mean that it is easier to ‘hit’ a particular note than the horn. With a lower brass instrument (like a trombone or tuba) there is a lot of tolerance – you can be a smidgen off when starting a note but still get the note to speak properly. With a higher instrument there is more tension in the lip muscles but it is easier to pick out a tune, or a given note because you are largely playing the tune more with your lips.

The horn though sits in the middle and is unique in that a player really has to hear the note in their mind, set their lips correctly and then get the air column moving all dead right before the sound is even made, let alone it reaching our ears. In some ways this can be a real bastard to do, but I have always had good relative pitch, meaning that as long as I can ‘hear’ a note in my ear, I can pitch up or down naturally to be able to determine what the sound should be like (up or down) before I play it. This is not exactly perfect pitch, which is the ability to hear say a train whistle or a wind vibration on the car and tell that it is an E flat, or an F. It is relative, so that as I spend hours playing an instrument, I learn where the sound sits in the silent vacant space and in my mind I can hear it before it plays. For example when I was playing professionally I could hear a note then hum it and name it, or play it on the piano, accurately. This is perfect pitch but not natural – it was developed and came from familiarity. I had to convert the sound into a French Horn pitch though in my mind in order to do this, which is a mixture of perfect and “relative pitch“. I relate the new sound to a known sound, even though this known sound is internal only.

This ability to pitch is a very valuable natural ability that when developed with practice really helps a hornist. Strong breathing capacity like scuba diving (developed during my formative years) also helps so that our diaphragm is engaged before the blowing even commences. These are all factors that help a hornist.

It’s also interesting to me that I have a form of mild aphasia (genetic) that causes me to fail to digest new or unfamiliar sounds easily or at all. This prevents my capacity to learn new languages but it means that I can differentiate known sounds very easily. I can pick up any instrument you want in an orchestral piece for example, I can hum what the cellos are playing or I can hear that the third hornist cracked a particular note at a particular point in a piece, but even after years of me listening to my Landcruiser speaking to me in Japanese to “insert the card” and all I actually hear is “Hardoor. Yekatasich!” or something weird that nobody can understand until they hear the original!

So missing a note on the horn is very easy and we call this, “cracking” a note. Doing this in a performance can destroy a piece in the minds of the audience (it comes across as very amateurish or incompetent) and can also tarnish a hornist’s career! With digital editing this can be masked in-studio later but in live performances, while it is not uncommon in lower levels of excellence, it is rare even in professional circles due to the excellence of these players.

Stefan’s renditions here are quite a bit slower than the norm but this is his style and it accentuates the beauty of his ‘pulling’ of the music – by pulling we mean going faster and slower and playing louder and softer throughout the solo. My performances were slightly faster than this but still a little slower than the norm.

Speed is a taste thing and is primarily determined by the hornist. When you see the conductor in these videos you can see that they are essentially following the soloist. This means that the orchestra, primarily the strings only to start with are being led by the hornist (normally this is the other way around) and while it may appear unrehearsed and natural it is all worked out well beforehand in rehearsals.

At this level, the orchestra, the soloist and the conductor will have communicated something like, say, “We [this orchestra] do A442” (meaning very slightly ‘high pitch’) a smidgen above the norm of the A440 pitch, or that “The hornist will drop back a bit in speed or volume or pull it around a bit” which means that in places the conductor will need to keep on his toes, and the strings [violin, viola, cello & bass players) will need to listen up and be careful to time their playing with the solist! Things will get back to normal when more players, like the oboe, clarinet and others join in but this is Stefan’s moment of glory for sure!

This reminds me of my father telling the story of the argument between a hornist and a conductor, one who didn’t communicate in English very well. In their rehearsal, it wasn’t Tchaikovsky’s Fifth BTW, the horn soloist was playing away merrily when the conductor stopped the orchestra. “No! No! No!” he said to the hornist. “This is your solo!”

So they started off again. This time the hornist played a little louder and more ‘importantly’ but the conductor stopped them all again. “No! No! No!” he said to the hornist in his halting English. “This is your solo!” with an emphasis on the word SOLO.

The third time they all tried it again and the hornist gave it all he had, blasting it out as loud as he could. Stopped again, he got really peeved with the dopey conductor who didn’t seem to realise that he could not play it any louder.

“No! No! No!” the conductor again said to the hornist. “This is your solo! We are all listening to you. Shh!” meaning to play it softer because it was a solo!

While most conductors at this level have their own opinion on how things should sound (as do the musicians) it is usually the musician who determines the tempo (i.e. speed) and nuances of his work, something so important (and beautiful) as this solo. They will therefore work together as a team. In my case, with Michael McLellan the Junior Symphonies resident conductor he pretty much left me to determine the way things went and they seemed to work out pretty well, certainly according to the feedback I got afterwards.

I kept the tape recording of this music for years – a treasure. Sadly, I lost it and all other family taonga when the PM booted me out of Samoa but hey, that’s life eh? Sh*t happens!

Mum and Dad played clarinets in the St Matthews Chamber Orchestra for years – Dad faithfully recording all their concerts. That was their buzz. Mine was the AJSO for something like seven years during my teens and this piece of magic was a happy memory from those days – sorry I can’t play you my version of it anymore. Enjoy this magic from Germany nonetheless

Thanks for joining with me today in this reminiscence.

A younger Stefan Dohr plays Tchaik 5 in 2008.
Nine years later, here is the same hornist with the same magical piece, a different conductor though.
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Comments

  1. Neil says

    16 January, 2022 at 10:52 pm

    Hehehe, since I play the piano a little from age 11 (ended up I would
    think at about grade 4 so that I can keep some folk amused for 30 –
    60 minutes depending on my mood), and self diagnosed with
    aspies (Asbergers), I guess we have some characteristics conducive
    to digging up rotting corpses (pardon to Harvey and Jeanette – on the
    Cornwall Online parish clerk site I have gotton myself included with
    over 100.000 burials transcribed from Cornwall registers – mother’s
    side – the pirates), so yeah, I can empathize with you on that as well.

    Oh I found a St Margaret’s College, Wellington online reference to
    Ondine Souter, mother in 2017 to the deputy head prefect Mia.
    Assuming Mia to be born around 2000, and Ondine to marry say
    in 1995, she would I guess be wife of one of the sons of Robert’s
    first marriage.

    Here are some references most of which you probably now know:

    https://gazette.education.govt.nz/articles/homegrown-heroes-bring-students-and-community-together/

    https://sites.google.com/rangikura.school.nz/rangikuraschool/our-staff

    With photo of Ondine Souter:

    https://websites.mygameday.app/get_file.cgi?id=1562611

    Just a small help this time round, best, Neil + Shaggy.

    Reply
    • dennis says

      17 January, 2022 at 8:09 am

      Thanks Neil
      Great work indeed.
      Yup Aspergers eh? If so, at your age it will likely be genetic, probably inherited from your father with human relation difficulties the more obvious clue, as vaccine influence came in the next generation, after your childhood, around the time I was a teen – the 1970s.

      Reply

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Hillary Rodham Clinton was arrested on 2 March 2021 and charged with a multitude of crimes too long and horrendous to … [Read More...] about Evil UNMASKED!! Revenge Belies Biblical Teaching

Evil UNMASKED!! The Wisdom of Circumspection

The bible records a Creator God that retains some things to protect his creation from certain [evil] knowledge. In this … [Read More...] about Evil UNMASKED!! The Wisdom of Circumspection

Evil UNMASKED!! Hillary Clinton Hangs

This post shares the news that a Military tribunal at Guantanamo Bay has sentenced Hillary Clinton to hang on April 26, … [Read More...] about Evil UNMASKED!! Hillary Clinton Hangs

EVIL UNMASKED!! The Depopulation Agenda

In this series I have shared aspects of how evil is manifested. A major focus of this aspect of life is death. It is the … [Read More...] about EVIL UNMASKED!! The Depopulation Agenda

Evil UNMASKED!! The Solution

Exposing and explaining evil is only a step in the right direction. Having got there, one needs to know and understand … [Read More...] about Evil UNMASKED!! The Solution

Evil UNMASKED!! Power Is Shifting

This post shares the events leading up to the 2020 US Presidential Elections in which it appears to me that there is and … [Read More...] about Evil UNMASKED!! Power Is Shifting

EVIL UNMASKED!! Introduction

What follows is the Introduction to my latest book, 'EVIL UNMASKED!! Understanding Widespread Systemic Satanic … [Read More...] about EVIL UNMASKED!! Introduction

Evil UNMASKED!! Divining Truth

This post uses two stories about the arrest of Generals Milley and Hokanson on 14 April 2021 to demonstrate the process … [Read More...] about Evil UNMASKED!! Divining Truth

Evil UNMASKED!! Confessions of an Economic Hit Man

Part of a series & book, this post quotes extensively from a classic by author John Perkins who self-identifies as … [Read More...] about Evil UNMASKED!! Confessions of an Economic Hit Man

Evil UNMASKED!! The New Confessions…

I quote here extensively from John Perkins' updated classic, The New Confessions of an Economic Hit Man and show how his … [Read More...] about Evil UNMASKED!! The New Confessions…

Evil UNMASKED!! Business Deception

Legion are the ways that evil can manifest but it is always based upon deception. This is why Christ's claim to BE the … [Read More...] about Evil UNMASKED!! Business Deception

Evil UNMASKED!! Conman & Hypocrite, Paul Bolte

This post gives more details of the history of a highly talented Aussie conman Paul Bolte, currently located in the USA … [Read More...] about Evil UNMASKED!! Conman & Hypocrite, Paul Bolte

Evil UNMASKED!! Fessing & Speaking Up

In this post, part of a series) I share the process of admitting fault and speaking up about evil. Generally people do … [Read More...] about Evil UNMASKED!! Fessing & Speaking Up

Evil UNMASKED!! Logical Failure & Cover-ups

If deception is key to evil then identifying logical failures and cover-ups helps us in understanding the godliness of … [Read More...] about Evil UNMASKED!! Logical Failure & Cover-ups

Evil UNMASKED!! A Living Christ Challenges

In this post I discuss the challenges that a living Jesus brings to those who deny or twist the simple biblical … [Read More...] about Evil UNMASKED!! A Living Christ Challenges

Evil UNMASKED!! Escape The Church

This post explains how the organised [Christian] church can be a dangerous place for genuine truth-seekers; not because … [Read More...] about Evil UNMASKED!! Escape The Church

Evil UNMASKED!! Understanding Global Geopolitics

Hopium, fearmongering, disinformation and human nature make a toxic mix deliberately designed to confuse mere mortals … [Read More...] about Evil UNMASKED!! Understanding Global Geopolitics

Evil UNMASKED!! Satanic Ritual Abuse & Pedophilia

I define evil as 'anything that falls short of God's desires' but Satanic Ritual Abuse (SRA) & Pedophilia are widely … [Read More...] about Evil UNMASKED!! Satanic Ritual Abuse & Pedophilia

Evil UNMASKED!! Stretching the Rules

In this post I use the story of a 'crooked operator' that I have crossed swords with here in Taumarunui, to demonstrate … [Read More...] about Evil UNMASKED!! Stretching the Rules

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I Fed The Baby

Media Release – I Fed the Baby – Confession & Motives in the Crewe Murders Cold Case

A book by the late Te Kuiti resident, John Ingley that claims to have solved the Crewe murders, will be available free, … [Read More...] about Media Release – I Fed the Baby – Confession & Motives in the Crewe Murders Cold Case

I Fed the Baby (IFTB)

This is the raw text of the book 'I Fed the Baby - Confession & Motives in theCrewe Murders Cold Case' by John … [Read More...] about I Fed the Baby (IFTB)

IFTB – Preface

The Preface of New Zealand Police CREWE Homicide Review of 2014, written by Detective Superintendent Andrew J Lovelock, … [Read More...] about IFTB – Preface

IFTB – Publisher’s Introduction

The double murder of Harvey & Jeanette Crewe in June of 1970 mesmerised the New Zealand public as the related events … [Read More...] about IFTB – Publisher’s Introduction

IFTB – About the Author

This chapter gives a little of my background, where I grew up and went to school, my hunting skills and what that taught … [Read More...] about IFTB – About the Author

IFTB – 1: Evils of this World

One of the most sensational and documented murder mysteries in New Zealand remains unsolved regardless of an innocent … [Read More...] about IFTB – 1: Evils of this World

IFTB – 2: I Fed the Baby!

Before my eyes I saw her go into hysterics, then she fell to the floor not unlike a person who is having a fit . . . … [Read More...] about IFTB – 2: I Fed the Baby!

IFTB – 3: Searching for the Truth

It was enough to drive any sane person crazy! … [Read More...] about IFTB – 3: Searching for the Truth

IFTB – 4: Chennells Family

Finding an appropriate position in the sand on where todraw the line to find a starting point has been one of themost … [Read More...] about IFTB – 4: Chennells Family

IFTB – 5: Properties Purchased

Newman Chennells arrived in New Zealand from England in 1911 where he had previously been earning a living as a land … [Read More...] about IFTB – 5: Properties Purchased

IFTB – 6: Howard Takes Over

Newman followed his real estate interests in Auckland (and Tuakau) which left an opening for his son Howard to take over … [Read More...] about IFTB – 6: Howard Takes Over

IFTB – 7: Land in England?

On the face of it the last will and testament of Nellie Chennells seemed straight forward, but only if one was not aware … [Read More...] about IFTB – 7: Land in England?

IFTB – 8: Was Nellie in Charge?

Using her birth year of 1873 Nellie Chennells would have been aged around 40 when she arrived in New Zealand and as a … [Read More...] about IFTB – 8: Was Nellie in Charge?

IFTB – 9: Demler Family

The Police initially had Len Demler as their prime suspect. English author David Yallop agreed and wrote that “the man … [Read More...] about IFTB – 9: Demler Family

IFTB – 10: Starting a Family

Len Demler certainly had his hands full. He had also started a family and was raising two daughters; Jeannette Lenore … [Read More...] about IFTB – 10: Starting a Family

IFTB – 11: Humiliation for Len

Life was settling down for Len but it was to be the calm before the storm. The years 1961 and 1962 were full of … [Read More...] about IFTB – 11: Humiliation for Len

IFTB – 12: At the Crossroads

Events were coming to a head between Chennells Estate trustees during the early 1960s with the risk of shady deals being … [Read More...] about IFTB – 12: At the Crossroads

IFTB – 13: Age of Eligibility

Jeannette reached the age of 25 on 6 February 1965 and became eligible for her inheritance of the Chennells Estate of … [Read More...] about IFTB – 13: Age of Eligibility

IFTB – 14: Common Denominator

The reader may have noticed by now that one person seemed to be keeping close tabs (and tight control) on the family’s … [Read More...] about IFTB – 14: Common Denominator

IFTB – 15: False Signatures?

Chapter 24 of Chris Birt’s book The Final Chapter examines the claim that Maisie Demler’s signature on her Last Will and … [Read More...] about IFTB – 15: False Signatures?

IFTB – 16: What about Heather?

Very little has been written about Dianne Heather Demler. What we do know is her birth date of 21 January 1942; she goes … [Read More...] about IFTB – 16: What about Heather?

IFTB – 18: Len gets Anxious

Len Demler was starting to show the pressure he was under and while he could see his future going down the gurgler for … [Read More...] about IFTB – 18: Len gets Anxious

IFTB – 17: The Heat was On

Brief mention has been previously made on the roles played by Maisie’s trustees, particularly Alf Hodgson and Colin … [Read More...] about IFTB – 17: The Heat was On

IFTB – 19: It Didn’t Start Yesterday

Most followers of the Crewe murders were only able to point the finger at ‘whodunnit’ from the information reported in … [Read More...] about IFTB – 19: It Didn’t Start Yesterday

IFTB – 20: Legacy of Greed

Maisie Demler passed away on 26 February 1970 and less than five months later, on 17 June 1970, Jeannette and Harvey … [Read More...] about IFTB – 20: Legacy of Greed

IFTB – 21: Opinion and Failures

The Police never worked out why the Crewes were murdered mainly because they failed to come up with a logical motive. … [Read More...] about IFTB – 21: Opinion and Failures

IFTB – 22: Inventory of Assets

The next major episode in the timeline of the murders revolves around the administration and management of Maisie’s … [Read More...] about IFTB – 22: Inventory of Assets

IFTB – 23: In the Days Before

In an early chapter I said experts worldwide claim that crime comes down to–99 times out of a hundred–love, hate, or … [Read More...] about IFTB – 23: In the Days Before

IFTB – 24: The Days Between

It’s now time to narrow the focus to what happened on 17 June leading up to the brutal double murder and of the events … [Read More...] about IFTB – 24: The Days Between

IFTB – 25: The Aftermath

Had Demler been telling lies and why was he stalling for time during the process of reporting what he had discovered at … [Read More...] about IFTB – 25: The Aftermath

IFTB – 26: Answers Well Hidden

The reason why the bodies of Jeannette and Harvey Crewe were moved from their house created a lot of discussion, … [Read More...] about IFTB – 26: Answers Well Hidden

IFTB – 27: The Murder Scenes

Detailed information covering the various murder scenes is readily available from other sources with resulting evidence … [Read More...] about IFTB – 27: The Murder Scenes

IFTB – 28: Len’s Master Plan

In hindsight, and in general, one can now see the larger side of the pattern in the fight for control of the estates. … [Read More...] about IFTB – 28: Len’s Master Plan

IFTB – 29: Leslee

I mentioned in Chapter Two that Leslee’s confession triggered my investigation into the Crewe murders. It’s no … [Read More...] about IFTB – 29: Leslee

IFTB – 30: Investigation Failures

In 2010 the Minister of Police initiated a Review intothe Police Investigations into the Crewe murders. Afterdigesting … [Read More...] about IFTB – 30: Investigation Failures

IFTB – 31: Whodunnit?

Events relating to Arthur Allan Thomas’ involvement, arrest, legal events and supposed guilt are preposterous and … [Read More...] about IFTB – 31: Whodunnit?

IFTB – Publisher’s conclusions

Understanding the events of Pukekawa in June 1970 cannot be just limited to analysing bullets and working out who ‘made’ … [Read More...] about IFTB – Publisher’s conclusions

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