The Production of "Take 9"

In August of 2002 the AHQ made their latest CD recording. Together with the horns of the New York Philharmonic an exciting project of octets and other works was recorded at SUNY at Purchase by Gregg Squires. From left: Kerry Turner, Howard Wall, Allen Spanjer, Charlie Putnam, Geoffrey Winter, Jerome Ashby, David Johnson, Phil Myers, Gregg Squires and Erik Ralske.


It was in Bordeaux in 1996 when the members of the American Horn Quartet and New York Philharmonic horn players, Philip Myers and Howard Wall, first heard each other perform. The impression on both parties was the same: that the two ensembles each approach the horn and its chamber music in the same manner. A year later, the other members of the New York Philharmonic horn section, Jerome Ashby, Allen Spanjer and Erik Ralske, had the oppurtunity to meet the AHQ when they performed at Merkin Concert Hall in New York City. Once again, the desire to somehow collaborate with each other on a project began to evolve. In June of 2001, the New York Philharmonic was on tour to Germany. Meeting up with AHQ member Charles Putnam in Cologne, they discussed, for the first time, the suggestion that we try a horn ensemble recording of some sort.



Taking a break from playing and getting to know each other. On the left, Howard, Allen and Charlie, on the right Gregg, Kerry and Jerome.


As the idea was passed around to the different members of each group, a growing enthusiasm and desire to make this happen gave the project the impetus required to get such a tricky undertaking underway. The following August AHQ member, Kerry Turner, met with the five members of the Philharmonic together at Avery Fischer Hall in New York. There they discussed the concept, program and the availability of the musicians. It was decided that Gregg Squires, with whom the AHQ had collaborated on a previous recording project, would be the recording engineer, and that the recital hall at the State University of New York at Purchase, would be the venue.



The members of the AHQ stop to pose before a very unexpected sign!


There were still quite a few problems to iron out. The repertoire for horn octet was seriously lacking in substantial material. There exists a plethora of smaller entertaining pieces for multiple horns. However, challenging music which explores all the technical, symphonic and color possibilities of such an extraordinary ensemble was hard to come by. Moreover, the two groups were not only very busy individually, but lived on two separate continents, making a much needed reading session practically impossible to realize. Then in June of 2002, the New York Philharmonic was once again on tour in Germany. Taking time out of their strenuous tour schedule, they agreed to meet with the AHQ, at the famous Cologne Philharmonie to read the proposed repertoire and other possible pieces which might fit on the program. Kerry Turner had already composed for horn octet. Two were commissioned works- Farewell to Red Castle, commissioned in 1995 by the Japanese-German Horn Ensemble; and The Ghosts of Dublin, commissioned in 2000 by the Alexander Horn Ensemble of Japan. The third work by Mr. Turner is his own arrangement of Barbara Allen, a piece he originally composed for the horn quartet. The three pieces together form a sort of trilogy, being rhapsodies and variations on themes from the British Isles.



Recording our arrangement of the Overture to Candide.


In Cologne, the horn players read through Eric Ewazen’s Grand Canyon Suite. The style, sound and quality of this work lined up exactly with what the artists were searching for. It was the mutual wish of all parties concerned to include some lighter, yet virtuose pieces which would find a place on the CD. From the start, Philip Myers had suggested the arrangement of the Brahms Hungarian Dance Nr. 5, which adds a zesty new color to the program. Then came the idea to include New York Philharmonic tubist, Warren Deck’s arrangement of the Overture to Candide by Leonard Bernstein. It was obvious that this would be the most challenging piece to record. However, after a reading of the arrangement and some reworking of the parts, it became clear that not only is the piece playable, but it would also retain the orginal feeling intended by the composer.



Recording Kerry's Take 9 Antiphonal Fanfare.


All that remained was an opening number for the album. Many ideas came to mind. And there certainly exists quite a number of small fanfare-like pieces which would fit the bill. But the group wanted something which would include all nine performers, and which would demonstrate the two different styles of playing, that of the AHQ and that of the NY Philharmonic Horns, in an antiphonal setting. So it was, four days before the artists met at the Juliard School in New York, that Mr. Turner began to compose the Take 9 Antiphonal Fanfare for nine players. The parts were scored on computer and printed out at the recording location, and the horn players read it down and recorded it during the second session.



The AHQ recording Gershwin's I've Got Rhythm.


To round off the album, it was decided that each of the groups should contribute a small encore-type piece which had an obvious american flair. The AHQ has been offering Gershwin’s I've Got Rhythm as an encore for years. And their New York counterparts have performed Dave Brubeck’s Take 5 for many enthusiastic audiences.



Our recording engineer and fellow hornist, Gregg Squires listens carefully.


The overall atmosphere at this recording session, which took place on August 19-21, 2002, was one of mutual respect, friendship and appreciation not only of their similarities, but also of their nine very obvious differences as horn players, musicians and people.

Details for the CD "Take 9"