Talk About Pitch Specificity!

Yesterday's rehearsal of the Brahms Horn Trio was a revelation in listening.  Violinist Gregor Kitzis spotted a note in the horn that was crying out for special treatment.  How did he notice it?

I can't presume to get inside of his brain, but I think it's because he was spending the entire rehearsal experimenting with violin techniques that would enable him to better match the horn's timbres on specific pitches, with amazing results.  But here was a problem that demanded special attention:  The horn, playing dotted half notes, one to a bar, moves down a half step.  It happens twice in the movement, each time with spectacular consequences if appropriately listened to and accounted for.

Seemed like nothing at all, until we did it.  We -- and the music -- will never be the same.