Mary Beth Orr – The Singing Horn (Album Review)

Today’s review will revolve around an extremely talented musician who intends to bridge the connection between the horn and the human voice. She is none other than Mary Beth Orr, a passionate classical hornist and folk vocal artist. She is currently the 3rd Horn of the Grand Rapids Symphony, and has performed with ensembles including the Detroit Symphony and Charleston Symphony. She was also recently a finalist for The American Prize in instrumental performance in 2023 and won prizes at the International Horn Competition of America, among many other accolades.

Orr is a passionate classical hornist and folk vocal artist who uses the chosen medium of her classical horn and solo voice combined with the rich and soulful traditional melodies of her Appalachian heritage to create a poignant musical journey of the human spirit. Her style is unique in that it connects two very unlikely genres and instruments, as well as audiences. In reference, she states that so much of classical literature is inspired by, and derived from traditional folk melodies, leaving one to honor its connection as well as how it complements each other, contrary to common assumption. These styles both communicate and elevate the human spirit, and her hope is to connect with audiences from as many varied backgrounds as possible, and connect them to each other.

All of these aspects culminate in her newest release, titled ‘The Singing Horn’, a glorious and insightful album highlighting the further connection between the horn and the human voice. It was released last month on Navona and Big Round Records. It consists of a variety of influences, from the traditional ‘I’ll Fly Away’ to Mahler’s ‘Songs of the Wayfarer’. She weaves distant generations and cultures together in what is described as a ‘love letter to my life, and to yours’.

The album also bridges the divide between opposites- folk and classical, raw and refined, life and loss. The first five tracks of the album flow like a song cycle, interweaving folk and classical elements, culminating in the haunting beauty of ‘Oh Death’. In succession, you’ll hear ‘Good and True’, inspired by the birthing song of the Dagara Tribe as described by Sobonfu Somé. These works harness the synergy of horn and voice as vessels for storytelling, anchored by heartfelt reflections on motherhood, love, and grief. It is an artistic testament to the bittersweet complexity of human experience.

One of the words I have to use to describe the album is the word lush. It is very intrinsically glorious to hear the culmination of horn and voice, in interesting scales and melodies. The power of the instrument dominates each first half of the recordings within this work, with poignant undertones that simply keep you latched on in awe. When the tracks transition to Mary Beth Orr’s voice, it gives off a completely different flavour, adding depth and a delightful weariness, elevated by the wonderful mastering of her voice as well. There is a familiarity to the timbre of her voice as it guides you through the various stories she narrates, with an extremely proficient vocal tone and ability to glide through notes and emphasizing phrasing.

The otherwise Mahlerian segment of this album follows up with just as much engagement, creating a beautiful and full soundscape accented and complemented by both the horn and the piano. It is simply sublime and peaceful, before transitioning to a more dynamic and chromatic sequence. These are extremely proficient recordings of this piece, and I think it’s easy to appreciate them, even if you think you don’t have an ear for classical music.

It weaves through multiple musical movements and genres, and I truly enjoy that- it builds on to the high level of musical variability within the album. The traditional segments are eloquently executed with the power of Orr’s voice, it has to be said here that even though her accolades primarily represent her skill in horn, I think she is an amazing vocalist as well. There is a lot of emotion and adaptability within her vocals.

It is paramount that as you listen to this album, you should read the album page’s note section to entirely enhance this wonderful experience of an album here.

I think this is truly an album that exemplifies high art, with distinct, emotionally pure expressions of stories and traditions interwoven into a singular soundscape. It is jarring, outright magical and extremely engaging within many parts of the album, enough to tug onto anyone’s heartstrings. If beauty were an album, this might be the contender for its definition.

SCORE/Outstanding: The Singing Horn is a wonderfully unique and blissfully executed work of art that combines Orr’s proficient skills in both the horn and her vocals. It is incredibly multifaceted, with many highs and lows and diverse stories to keep you listening and hooked. Beyond the value of a release, it is almost like the soundtrack to the movie of life- a praise quite hard for most to garner.

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