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96 A Horn Virtuoso’s Letters C H A P T E R 6 In his now famous Desert Island Discs appearance on the Home Service, August 13, 1956, Brain mentions that he is a bad correspondent and that he would choose to take a typewriter with him to his desert island to remind him every time he wakes up that he does not have to write a letter! Yet all his correspondence was handwritten. Some of his correspondence, perhaps, will never come to light—letters he wrote to the general public, to concert agents, friends, colleagues, composers, and family. Those letters that remain reveal much about what kind of man he was, music apart. They show that he was polite, modest, generous, with a good sense of humor. The letters also suggest that he was excellent at time-keeping and organization of his musical schedule. The time-keeping was something he also did as a challenge; when, for example, traveling from Dieppe to Nice, he would look at a notebook he kept of the times for journeys to work out his previous records for the distance traveled by car and how he could beat his own record.1 In his letters to the BBC, it is clear he has a sense of his own worth and is persistent in fighting for higher fees for solo and chamber music engagements . No doubt, in pressing for the right fee, he was not thinking of himself first and foremost, but as a provider for his family. One is reminded, however, of the business-like approach of his uncle Alfred, who by insisting on double the fees, helped not only himself but other horn players working at the time in Los Angeles.2 Sometimes Brain’s letters give a glimpse of the private person, such as his ambitions to be a conductor, or occasionally they reveal his musical taste. Never do we hear a bad word about anybody. He is not a gossiper. He does not crack jokes at other people’s expense. A Horn Virtuoso’s Letters 97 It may be true that Brain did not enjoy writing letters, but he certainly had a busy correspondence with the BBC. Most of these letters are straightforward acceptances or refusals to take part in a broadcast. Sometimes if a subject especially interested him, he would write at length. Postcard to Ernest Tomlinson While in Düsseldorf on January 28, 1957, Brain wrote to British composer Ernest Tomlinson concerning the new work Tomlinson was writing, Rhapsody and Rondo for horn and orchestra. This was later given a first performance at the Royal Festival Hall on June 22, 1957, and also broadcast live on the BBC for the Light Programme Music Festival that year. As you see I am away but have time to catch up on various things. I think your idea for a horn theme is fine, providing one doesn’t jump about outside an octave. The phrase at the bottom of the manuscript is difficult at speed because it is over an octave for each jump. Otherwise I look forward to a new work & will ring when I return.3 Letter to W alter Legge In the winter of 1957, Brain was scheduled to record the Haydn Concertos for EMI. This letter of April 19, 1956, to Walter Legge shows how much advanced planning could be required for important projects. Thank you so much for your suggestion that I should record the Haydn Concerti. Nothing would give me greater pleasure, except perhaps that Elisabeth and you would find a way to come to my concert on April 27th—to lend invaluable encouragement. You have been so helpful so far, in helping me to avoid clashes, that I think it only fair that you should hear something of the result, and I personally would value very much your opinion. I find the first Haydn much better than the second, which is apparently doubtful, and have a Photostat score of it, which is quite interesting. It has in the second movement writing which is much more adventurous than Mozart, a finale which is not 6⁄8! I was sorry to hear of Mr Ackermann’s indisposition, and hope he will soon be well.4 The invitation was for the third concert of the Dennis Brain Chamber Orchestra at Wigmore Hall. [18.218.61.16] Project MUSE (2024-04-24 18:32 GMT) 98 Dennis Brain: A Life in Music Letter to Gerard Hoffnung Brain’s musical...

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