Dennis Brain: A Life in Music

Appendix D: Articles

288 Articles A P P E N D I X D French Horn Playing By Dennis Brain The Conductor 3, issue 10 (October 1954): 3, 8. The Quarterly Journal of the National Association of Brass Band Conductors1 Dennis Brain, at the age of thirty-three, stands at the head of his profession. French horn playing and his name are almost synonymous. Son of Aubrey Brain, also a famous horn player, Dennis has been the principal soloist of the Royal Philharmonic Orchestra since 1946. He has played concertos in Switzerland, France, Germany, Holland, Italy and U.S.A. and has recorded most major works for the horn. A number of works has been specially written for him, notably those by Benjamin Britten, Hindemith and Gordon Jacob. He has also been awarded the coveted Cobbett medal of the Worshipful Company of Musicians. Bandsmen will gratefully recall his wonderful playing at the concert following the “Daily Herald” Contest at the Empress Hall in 1952 when he was accorded a tremendous ovation by the crowded audience.—Ed. To write an article for a Brass Band Journal on an instrument which does not appear in a Brass Band would seem to give rise to a situation similar to that of Daniel entering the lion’s den; but as I had seven years in the R.A.F. Central Band I felt that it was sufficiently similar to give me some knowledge of the differences and difficulties involved. The most important aspect to be considered for a horn player is tone. Technique, strength of lips and experience come naturally in time if built up on a solid foundation of proper sound, whereas the most facile agility is comparatively worthless if the sound produced does not bear listening to. What is horn tone? Naturally, I like to think that it is the sound which I myself produce— but is it? After all, each nation has its own idea about quality. The Germans have a thicker and bigger sound than ours; the Viennese, using their Vienna horn, a big-bore instrument in F with a strange system of piston valves, produce a big brassy sound though very imaginative in soft passages; the Italians who rest the horn on their knees and produce a woolly, tubby sound: Articles 289 and the French with their excessive vibrato, (which I shall return to later) sound often like a bad saxophone, a much maligned instrument. My ideal is a pure, clear, warm sound which does not lose quality in ff, as quality, not quantity, has more penetrating power; and nothing is worse than woodwind, or strings, being blotted out by the sheer noise of brassy horns. To revert to the question of vibrato. This, except in France, is hardly used on the horn at all, which is in a way a pity, as it has in musical expression a definite purpose. But first, what is vibrato? My colleague, Eric Bravington, in his excellent article on Trumpet Playing which appeared in The Conductor in April last, mentioned the wide use of vibrato. If I may re-arrange his words and say—the use of “wide” vibrato, they will convey more clearly my objections to its use. Wide vibrato is wobbly, whether on a wind instrument, string or voice, and is similar to a bad tremulant on an organ; something which appears to be turned on and too seldom turned off! The horn-call from Wagner’s Opera Siegfried would appear to me to be singularly offensive with vibrato; but in some French music the sound without vibrato can be very dull and uninteresting. It is usually effected by fluctuating the air stream or altering the pitch with the lips or hand, but should only be done in certain kinds of music where one’s feelings suggest that the sound should be more coloured and warmer. Two artists come to mind who use a proper, natural vibrato, on their respective instruments—Jascha Heifetz and Tommy Dorsey. Having been fortunate enough to hear both in person, it seems to me that their use of vibrato makes a magnificent sound, live and human. May I briefly summarise on this subject, which is, I think, very important. Vibrato should be used to colour the sound and not to cover up deficiencies of tone and intonation. I cannot advocate too strongly the proper practice of sustained notes for the following reasons: one note alone gives you time to listen to the sound that you are making, whether or...