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CCO: You are principal horn with a number of different orchestras, and fourth horn in one. What is the difference between those two positions? Do you have a preference?
SH: I am very privileged to get to play with so many ensembles, and the differing roles add a fun challenge.
Typically the principal part is higher stakes - more exposed solos which come with more pressure, and more reward. It is also higher in the instrument's range, usually sticking to the top two octaves. The principal also gets to set the style for the section, with the most liberty to interpret the dynamics, articulations, phrasing, etc.
Fourth horn is almost the opposite - typically sticking to the lower two octaves - with the role of supporting and matching as precisely as possible the interpretations of those to their left. Both roles are challenging and rewarding in different ways. So long as the music is good and the orchestra is “on,” I am satisfied.
CCO: Can you tell us it is more about what it is like to sit in each of the four horn positions?
SH: Each role in the section varies somewhat. Traditionally, horn parts are written in pairs: first (principal) and third, second and fourth; etc. This is a historical artifact of the early 19th century - right when music began to become more chromatic but before valves gave horns chromaticism.
Before then, horns mostly played notes from one key, so Classical composers like Mozart and Haydn would write for them in the beginning and ending of their pieces (which were in the one key), and then would have to leave them out in the middle while they explored a different key. Romantic composers like Beethoven, Brahms and Dvořák got around this by adding a second pair of horns in a different key that could tap in during the development sections. Therefore, the role of the first and third were more melodic and soloistic, and the second and fourth would provide harmonies and counterpoint. This is generally how the modern section sees their roles, where second, third and fourth try their best to match the principal if everyone is playing, and occasionally third horn adopts the principal role. The principal tries to blend their sound with the rest of the orchestra and play in a way that makes it easy for the rest of the section to match.
Generally, playing any part feels like you are part of a team, trying your best to make everyone else in the section sound as good as possible, serving the music to the best of your ability, while occasionally taking your moment to shine.
CCO: Sometimes we might see five people up there in the horn section onstage - what is that fifth person doing?
SH: You may sometimes see an additional horn near the principal. Their job is to assist by playing some of the less exposed, more tiring sections of the 1st part, so when it comes time for the touchy, delicate solos, the principal can sound their best. It takes a lot of strength to hold the embouchure for extended periods, and while it hopefully never sounds like it, sometimes it feels like we’re holding on to the edge of a cliff by our finger tips up there… It is challenging enough to step on to a high wire; it is treacherous if you’ve just held a plank (core exercise) for three minutes. That is where the assistant principal horn steps in.
CCO: You will be stepping out in front of the orchestra in our next concert, as soloist. What does that mean to you?
SH: For a horn player, Mozart’s concertos are at the heart of the solo repertoire. Getting to perform one with an orchestra after years of preparation for auditions and recordings is like finally driving the sports car you’ve been restoring for 12 years.
CCO: The horn is such a physical instrument. Are there any warmups or exercises you do to stay in shape?
SH: You do have to stay in shape to play the horn. The muscles are so small that even one or two days off has significant impact on your endurance, accuracy, and control. I try to do three to six hours of playing every day to stay in peak shape - primarily exercises. Lots of scale patterns, arpeggios, repeated articulations. Unfortunately, they’re rarely the same twice. I also read many etudes.
Holding notes for as long as possible is a very efficient way to improve endurance - much like a plank exercise or a wall sit. The key is feeling the burn in the embouchure. With a newly welcomed baby in the family, I have been employing that one frequently.
The CCO congratulates Steven and the whole Harmon Family!
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