Selected Press Clippings

[sws_blockquote_endquote align=”” cite=”— Austin News” quotestyle=”style02″] Then there was hornist Bernhard Scully. He had what I call a frozen embouchure, meaning his embouchure was so perfect that I never saw him making little adjustments to produce very high or very low notes. Every last note started beautifully and ended beautifully, and in between was gorgeous tone and exalted musicality. [/sws_blockquote_endquote]

[sws_blockquote_endquote align=”” cite=”— Dennis Polkow, Chicago Classical Review” quotestyle=”style02″] A homage to Grisey’s 1994-6 work Vortex Temporum, Broberg uses French horn overtones—wonderfully supplied by soloist Bernhard Scully—within a twelve-string soundscape punctuated by percussion that included cow bells and glockenspiel. The piece builds in dynamics and shifts from tentative whole tones to an extended climactic triumph of the tonal triad. [/sws_blockquote_endquote]

[sws_blockquote_endquote align=”” cite=”— Manchester 4barsrest review” quotestyle=”style02″] Bernhard Scully was then featured in a delightful performance of ‘Rondo’ from Mozart’s ‘Quintet for Horn and Strings’. Bernhard’s execution and delivery was made to sound so infuriatingly easy this was one of those night’s when you knew people were thinking how on earth does he get that sound, produce that projection?’ [/sws_blockquote_endquote]

[sws_blockquote_endquote align=”” cite=”— all from a review from 4barsrest Saint Johns Smith Square, London.” quotestyle=”style02″] The robust sound of horn player Bernhard Scully, technically secure throughout the evening and more in the Barry Tuckwell mould than that of Dennis Brain…. Bernhard stood at the front of the stage, enabling his sound to project more clearly, and he produced a virtuoso performance, with clean articulation in the runs and secure pitching, complete with a lip trill in the brief cadenza… This included Bernhard, horn soloist in “Lookin’ good, but feelin’ bad”, suddenly spinning round so as to project his sound better towards the audience, and finishing his solo feature with a spectacular upward glissando…. Again, Bernhard’s full sound (in the Albinoni Adagio) was heard to good effect, and it provided a reflective moment [/sws_blockquote_endquote]

[sws_blockquote_endquote align=”” cite=”” quotestyle=”style02″ cite=”—Hubbard, Saint Paul Pioneer Press”] Thursday evening at Stillwater’s Trinity Church, Britten’s Serenade received a memorable interpretation from tenor James Taylor, the St. Paul Chamber Orchestra and its new principal French horn player, Bernhard Scully. It was a performance that was tender, sorrowful, bright, intense and ultimately moving, the centerpiece of a stirring, soulful concert…. Scully framed the work wonderfully with solos on a valveless horn, complementing Taylor’s absorbing singing with a lovely tone. [/sws_blockquote_endquote]

[sws_blockquote_endquote align=”” cite=”—Well-Tempered Ear, Madison, WI.” quotestyle=”style02″] The awards-winning UW 2004 master’s graduate, French hornist Bernhard Scully (below), performed Mozart’s Horn Concerto in E-Flat Major, KV 437 — perhaps the most famous of the four horn concertos Mozart composed, with a gorgeously lyrical slow movement and the well-known hunting song, repeated-note finale. The orchestra performed its accompanying or partnering role with precision and gusto. The French horn solo part was exemplary, as you might expect from Scully who at a young age has already enjoyed a worldwide concert career as a member of the Canadian Brass. Little wonder he was given a distinguished alumnus award art the concert.) [/sws_blockquote_endquote]

[sws_blockquote_endquote align=”” cite=”—Hubbard, Saint Paul Pioneer Press.” quotestyle=”style02″] Late in his life, Richard Strauss also examined his youth. Perhaps thinking of his father, a professional horn player, he wrote the consummate 20th-century horn concerto. And St. Paul native Bernhard Scully — in his first year as the SPCO’s principal horn — took a fine star turn with the work. His mellifluous tone was engaging throughout, but particularly during the meditative slow movement. [/sws_blockquote_endquote]

[sws_blockquote_endquote align=”” cite=”—John Frayne, The News-Gazette” quotestyle=”style02″]Reinhold Gliere was that strange phenomenon, a composer who lived until 1956 in the Soviet Union, and who wrote music that sounded like Alexander Glaszunov and Sergei Rachmaninoff. And his musical conservatism saved him from the red commissars. His 1951 Horn Concerto offers a horn player of outstanding abilities to show off the expressive possibilities of that instrument. And Scully is clearly such a player. He produced from his horn beautiful tones, and a wide spectrum of tonal shadings as the work went on. Gliere asks for a singing tone in this music, but he also sets his player some formidable hurdles to cross. These Scully surmounted with ease, making them sound a pleasure. By the end of the three tuneful movements of Gliere’s concerto Scully had won over the audience’s admiration and good will. One hopes to hear more excellent horn playing from Scully.[/sws_blockquote_endquote]

Leave a comment

Your email address will not be published. Required fields are marked *