2.
All books and methods done in 2 or 3 languages. This is often done by European publishers, but virtually never by American publishers.
3.
Facsimile editions of the old method books (Duvernoy², Domnich², Dauprat, Gallay, Meifred, et al.).
4.
More original works and transcriptions available for horn solo and wind ensemble.
5.
To see the non-European horn manufacturers offer even half the number of models and options that most European manufacturers offer. And for all manufacturers to consider whatever of the following options that they don’t already offer: case covers, screw bells (at a reasonable price), adjustable thumb valve so that thumb up can be either F or Bb horn, water keys; also to consider making authentic copies of the horns of the Baroque and Classic eras.
6.
Having the International Horn Workshop in late July or in August when most European orchestras have vacation, so that the European member at least has the possibility of attending. And certainly any workshops held in Europe should be held during this time.7.
7.
Methods for horn which include cross references to books, articles, music, and other methods for further study, including those of other instruments or even non-musical texts.
8.
More contemporary works (especially by our best and most famous composers) for the young player. That is, in the 20th century idiom, but relatively easy (or shall we say accessible): for solo horn, horn duets, horn and piano, horn and small ensembles. If contemporary music is ever to really catch on, it will have to be through the young (the way they are getting soccer to catch on in America). We hope that the International Horn Society Composition Project will make important contributions in this direction.
9.
A gigantic undertaking: a new and comprehensive series of excerpts, to appear in the following main sections:
I. Standard symphonic repertoire (possible subdivisions: Baroque — Classic — Romantic — 20th century)
II. Opera
III. Chamber music.
And one single-volume collection of the most important excerpts from the entire series.
The work on such a project would best be done by a group of individuals of varying specialties working on smaller areas; they would crosscheck each other's work. They would not necessarily all be 1st horn players — or even all horn players.
The selection of excerpts would be on the basis of the repertoire encountered in today's orchestra. Special care would be taken to produce accurate, unedited music; at the same time, comments would be added underneath as to the editor’s experiences in the actual performance of the passage.
Each division would be alphabetically arranged. No "junk" or "filler" excerpts. It is possible that such a series could require 20 or more volumes for completion. But the need for an accurate, systematic, and comprehensive orchestral excerpt series seems apparent when one looks at the present books available. Most are good in one way or another, but fall far short of what is really needed.
A few examples: the Gumbert series is admirably extensive, but hopelessly out of date and full of errors; Gebhardt's excerpts seem to be largely photocopies of the Gumbert works; Moore's opera excerpt book is admirable in every way except that it is so short; Chamber's series is accurate and fairly extensive, but is arranged in no perceivable order and, as in almost all other excerpt books (Moore’s being the prominent exception), it includes no comments by the editor that we might benefit by his years of experience; Pottag's Vol. 1 is by reputation the best single volume collection, but it is riddled with errors and still contains too much "junk"; Thevet's two-volume collection, besides being completely unsystematically arranged, has no list of contents so the only way to find out what is in it or where is to go through the whole thing page by page. And so on. A comprehensive series of excerpts would be a lot of painstaking work even for a committee, but it would be a very valuable and useful reference for all horn players for a long time to come.