Orchestral bookings (since September 2007)

ORCHESTRAS
• City of London Sinfonia
• European Union Chamber Orchestra
• London Mozart Players
• New Mozart Ensemble
• Royal Liverpool Philharmonic Orchestra
• Royal Philharmonic Concert Orchestra
• Royal Philharmonic Orchestra
• Scottish Chamber Orchestra

EDUCATION WORK
• City of London Sinfonia Education

     Repertoire List

• A Abbott Alla Caccia
• Beethoven Sonata for horn and piano, Op.17
• Beethoven Sextet, Op.18 (1st Horn)
• Britten Serenade for Tenor, Horn and Strings, Op.31
• Britten Canticle III: Still falls the rain, Op.55
• Britten The Heart of the Matter
• Berkeley Trio for Horn, Violin and Piano, Op.44
• Brahms Trio for Piano, Violin and Horn, Op.40
• A Cooke Nocturnes
• Dukas Villanelle
• T Durnhill Cornucopia, Op.95
• Glazunov Idyll
• Glazunov Rêverie, Op.24
• Handel Giulio Cesare 'va tacito e nascosto'
• Haydn Concerto No 1, Hob.VIId:3
• Haydn Divertimento a tré, Hob.IV:5
• Haydn Symphony No 51 (obbligato 1st Horn part)
• N Maw Sonata for 2 Horns (2nd Horn)
• L Mozart Concerto for 2 Horns (1st Horn)
• WA Mozart Concerto Nos 1, 2, 3 & 4
• WA Mozart Horn Quintet, K407
• WA Mozart Sinfonia Concertante, K297b
• Poulenc Elegie, Op.168
• Saint-Saëns Morceau de Concert
• Saint-Saëns Romance, Op.36
• H Schmid Im tiefsten Walde, Op.34 No 4
• Schubert Octet, Op.166
• Schubert Auf dem Strom, D943
• Schumann Konzertstück, Op.86 (1st Horn)
• Schumann Adagio und Allegro, Op.70
• F Strauss Nocturno, Op.7
• R Strauss Concerto No 1, Op.11
• R Strauss Andante for Horn & Piano
• Telemann Concerto in D
• Telemann Concerto for 2 Horns (1st Horn)
• Tippett Sonata for Four Horns (3rd Horn)
• Vivaldi Concerto Nos 1 & 2 (1st Horn)

     Reviews

• Of Haydn's Divertimento X:3, Landor Records CD:

  "...impressive playing especially from horn player Mark Paine..." - Andrew McGregor, Summer CD Review, BBC Radio 3, September 2008.

  Haydn's "fiendishly difficult horn part [is] expertly played by Mark Paine." - Guy Harvey, chief executive of Landor Records UK, 29 Feb. 2008.

  "The playing throughout is superb, though, particularly in the spectacular horn sequence in the second Trio in which the first such instruments is stratospherically high and the second incredibly low – an effect also used by Haydn in Symphony 51." - Antony Hodgson, Classicalsource, Jun 2008.

  Of Haydn's Symphony 49 La Passione, Landor Records CD:

  "...the horn-players once again distinguish themselves..." - Antony Hodgson, Classicalsource, Jun 2008.

  Of Haydn's Concerto 1, live performance, Canada:

  "Bright of tone and smooth of sound throughout..." - Barbara Fear, Barrie Advance Ontario, Canada, 24 Oct. 1997.

  Of Mozart Concerto K495, live performance in Germany:

  "Mark Paine blows a soft, warm and flexible sound from his horn … an exceptional performance." - Ekernförder newspaper review, Germany, 14 Nov. 2001.

  "The evening's soloist was London-based Australian born Horn player Mark Paine. His cadenza worked exemporarily, and [he] knew how to handle both flexibly and with nuances the usually troublesome Waldhorn. The popular Rondo in a lively tempo recalled the atmosphere of aristocratic hunting and fast horses." - Enno Nuendorf, Ekernförder Nachrichten, Germany, 14 Nov. 2001.

     Discography

• • Haydn, J Divertimento in A Hob.X:10, European Union Chamber Orchestra (Landor Records LAN282), awarded Editor's Choice in Gramophone July 2008
  • Farrenc, L. Nonet and Sextet, Ambache Chamber Ensemble (Carlton Classics 30366 00302)
  • Telemann G.P. Concerto for 2 Horns (1st horn), European Union Chamber Orchestra (IMP Classics PCD993)

     Outreach experience

• Long before large scale education projects became fashionable and offered by every single professional ensemble eager for easy funding and publicity, I started participating in and co-leading outreach programmes. Principally with the City of London Sinfonia but also the European Union Chamber Orchestra, these projects are centred on empowering the students to create their own music, usually in response to music I am going to perform. They then get the added benefit of performing their own work alongside me in a professional concert. It’s great for all concerned, and often inspires them to enjoy classical music which otherwise might to them, have seemed quite out of reach.

     Teaching experience

• While on tour and as an important part of what I do, I regularly give masterclasses, teach private lessons and contribute to outreach projects, depending on specific local needs. Recently I gave masterclasses in Colombia alongside my orchestral performances, and in New Zealand I taught private lessons around my recent recital. Outreach projects, usually in schools or in local music communities, are an important way of bringing music to the people, especially young people. I co-lead such projects whenever required, the latest being held in England. Participants are encouraged usually to compose their own music, often in response to something in the programme I am to perform, and they often get to perform it alongside me as part of a public concert. I find the world over this to be deeply satisfying for all concerned, as it opens up classical music to wider audiences, builds audiences for tomorrow, and crucially gives people a sense of ownership of classical music.