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Vor 4 Tagen · Julius Watkins chose to explore the technical and interpretative possibilities of the French horn in jazz, performing with names such as Thelonius Monk, John Coltrane, Miles Davis, and Quincy Jones.
Vor einem Tag · All comments are moderated before being published. The brief information about top 5 famous French horn players. Dennis Brain, Philip Farkas, Hermann Baumann, Barry Tuckwell, Alan Civil. Interesting facts about French horn players, recordings, achievements, collaborations. The most famous horn players of all time.
Vor 9 Stunden · Born in 1944 to a musical family, Entwistle first played the piano under his mother’s mentorship before welcoming his father’s speciality, the trumpet, into his arsenal. His enthusiasm and seemingly innate proficiency in brass instruments led him to enter orchestras at school, initially as a trumpeter but later also using the French horn.
Vor 3 Tagen · Recollections. Horns, Handley and the Heavens - My Life In Music. by David Smith. Growing up, I was lucky enough to have the opportunity to learn the French horn, and after a few years’ practice I ended up playing in the county youth orchestra. The conductor was admirably adventurous, introducing us to works such as Hindemith’s Nobilissima ...
Vor 3 Tagen · She is also a multi-instrumentalist admitting to playing the French horn “very well” and the banjo “very badly”. She has her own band, Kai’s Kats, runs her own record label, Broadreach, and has taken two one-woman shows to the Edinburgh Fringe featuring thirty original songs.
Vor 2 Tagen · The individual; instruments, flute, French horn, bass clarinet, trumpet, drums, and bass all come into the mix each adding their own recurring lines. The music crescendos before it finds a brief plateau where Perdomo's piano and the rhythm section create a small exploration within the composition. The ensemble returns following a cacophony of organized sound before the relentless ostinato ends ...
Vor einem Tag · Three themes threaded their way through the concert. Firstly, it was almost all French repertoire (“putting the French back into the French horn,” as Goldscheider quipped, with a self-deprecating wince), the exception being the French-speaking Belgian Jeanne Vignery, and all the works were composed in the 100 years from 1860-1960.
