The Italian Horn Website
| Il Club del Corno is promoting an opinion survey among professional horn players, based on a list of questions. The answers will be published on the site in English and in Italian. |
| Answers by Hans Pizka* |
1) What where the turning points in your development as a horn player? List any factor that was important to your progression as a musician (e.g. which conservatory/music school attended, influential teacher/s, particular events). Listening to the great opera singers: Della Casa, Varnay, Hopf, Nilsson, Tebaldi, Del Monaco, Gigli. 2) Do you think that your professional success could have been essentially different (either greater or lesser) if you had had other teachers? Just worse with a different teacher. 3) How much does the possibility of becoming a competent horn player depend on a) Facial structure, b) Inborn talent, c) Application/study?
a) Facial structure, - very important
4) Should a student who is having serious problems in the fundamentals, after studying the horn for some years, abandon the idea of becoming a professional at all, or could he/she be still brought to a level of competency by appropriate teaching metods (that is, by finding a new teacher)? Abandon, definitely as any professional horn player who does things NOT naturally, will remain a burden for the section more or less, earlier or later. 5) What is, in your opinion, the importance and use of a) Mouthpiece buzzing, b) Handled rim (rim on a stick) buzzing, c) Free lip buzzing ? Absolutely NOT necessary. 6) Do you know, use, recommend the "inspiron" and/or other breathing devices? Absolutely NOT necessary. If one does not understand how to breath naturally, there is NO chance to convert him or her. If one does not produce his or her first note on the horn NATURALLY, there is no chance to become a (really) successful professional who will enjoy his profession. 7) Do you think that progresses in one's playing happens steadily, by constant application, or by leaps? Both. 8) Should a teacher give precise embouchure directions? And how precise? Yes, absolutely, by carefully examine the students physical abilities. But leaving some freedom within a very narrow margin. 9) Are there special directions/techniques for mastering the low and high registers? Horn playing should be taught as one unit, one complex teaching, where young players develop more to the one or to the other side of the compass but specialisation should be made as late as possible, in the study time. Good low register improves the high region (often forgotten wisdom). 10) How was your experience in auditioning and what advice on this matter can you give to aspiring professionals? Be prepared for the audion long, long time before you apply for a job the first time. Be prepared for the worst excerpts. Be prepared to pass an audition even as asleep. But practise with brain!!! |
* Prof. Hans Pizka, age 61, professional since 1957, playing first horn all time, but experience on second or fourth or third as well, replacing colleagues for their gigs, soloist, writer, etc. |