Musical horn

“ The beautiful effect produced by a solo instrument accompanying a cantabile aria cannot be denied. In such cases the instruments used are generally the violin, viola, and 'cello, or the flute, oboe, Eng. horn, clar., bass clar., bassoon, horn and harp. The accompaniment is often contrapuntal or composed of polyphonic designs. The solo instrument either plays alone or as the leading melodic voice in the ensemble. In combination with the voice, or associated with some action on the stage, a solo instrument is a powerful expedient for musical characterisation. ”

“ It appears, however, probable that chorus or choron originally designated a horn (Hebrew, keren; Greek, keras; Latin, cornu) .
The flutes of the Middle Ages were blown at the end, like the flageolet. Of the syrinx there are extant some illustrations of the ninth and tenth centuries, which exhibit the instrument with a number of tubes tied together, just like the Pandean pipe still in use. In one specimen, [6] from a manuscript of the eleventh century, the tubes were inserted into a bowl-shaped box. ”

“ Wind-Instruments of Brass THE HORN The brass choir is composed of horns, trumpets, and trombones, with the addition in most modern scores of a contra-bass tuba. Wagner has used also bass trumpets and tenor tubas to enrich the color of this part of his orchestra. The horn, or French horn, as it is often called, is the old hunting horn adapted to orchestral purposes. It is an extremely valuable instrument, because it has a most noble and expressive tone, which makes it very interesting as a solo voice, and equally because it blends admirably with either strings or wood, as well as with brass. ”

“ Those accustomed to deal with instruments having fixed notes, such as the piano and harp, hardly realize the extreme difficulties which confront both maker and performer in intricate wind instruments such as the horn, on which no sounds can be produced without conscious adjustment of lips and breath, and but few without the additional use of some such contrivance as slide, crook, piston or of the hand in the bell, in the case of the natural or hand horn. ”

“ Owing to the changes of pitch by crooks, it is not easy to define the compass of the French horn. Between C in the bass clef and G above the treble will represent its serviceable notes. It is better that the first horn should not descend below middle C, or the second rise above the higher E of the treble clef. Four are generally used in modern scores. The place of the horn is with the wood wind band. From Handel, every composer has written for it, and what is known as the small orchestra of string and wood wind bands combined is completed by this beautiful instrument. ”

“ The common characteristics which link together these widely different modern families of instruments are: (1) the more or less pronounced conical bore, and (2) the property possessed in a greater or lesser degree of producing the natural sounds by what has been termed overblowing the harmonic overtones. If we follow the evolution of the animal horn throughout the centuries, the ultimate development leads us not to the French horn but to the bugle and tuba. ”

“ The spinning-wheel begins Andante in muted strings alternating with flutes and gradually hurries into a lively motion. Here the horn accents the spinning, while another thread (of higher wood) runs through the graceful woof. A chain of alluring harmonies preludes the ensnaring song, mainly of woodwind above the humming strings, with soft dotting of the harmony by the horns. The violins, to be sure, often enforce the melody.
In the second verse, with fuller chorus, the harp adds its touches to the harmony of the horns, with lightest tap of tonal drum. ”

“ They are rapidly put together and easy of execution, without any great originality. Their brevity enables the instrument to preserve its true character as one unsuited for display of execution; in the last movement, which is the regulation rondo in 6-8 time, the original nature of the horn as a hunting instrument is made apparent, which at that CLARINET CONCERTO, 1791. [339] time, when hunting music was thought more of than at present, was no doubt found very entertaining. ”

“ The horn is probably the most difficult of all the wind instruments, and that it is the most treacherous is evidenced by the slips occasionably made by even the finest performers. The F horn is a transposing instrument. ”

“ Schumann frequently used valve horns plus natural horns, and Berlioz preferred the vulgar cornet à pistons to the improved trumpet.
But the romantic period added many an instrument to the limited orchestra of Mozart and Beethoven. [Pg 341] Clarinets and trombones became the usual thing. The horns were increased to four, and the small flute or piccolo, the English horn, and the bass clarinet (or the double bassoon) , and the ophicleide became frequent. Various instruments, such as the ‘serpent,’ the harp, and all sorts of drums were freely introduced for special effects. ”

“ Thirdly, upon the valves, which, when pressed by the fingers, produce notes of lower and higher pitch.
The right hand of the player is always in the bell of his instrument to prevent harsh and loud sounds and to give the tone a smooth and veiled quality.
To play the horn bouché means to stop the horn with hand, or fist. To force its tone produces a loud, brassy and even wild effect. ”

“ There is but a slight analogy between it and the cor de chasse of the Middle Ages, an instru-14-ment that possessed but few tones. The genuine French horn made its appearance in the first half of the seventeenth century, and the stages of its development may be regarded as centennial. In the eighteenth century was added the crook principle, in the nineteenth, the valve system. These improvements were attendant upon those made upon trumpets. Like the trumpet, the "natural" horn was conducive to purity of tone, the chromatic horn to greater practicability without material loss of purity. ”

“ On Fridays there would invariably be a musicale—generally a quartette, with a few connoisseurs to listen and to criticise. Then the piano would be drawn out from its corner and the lid propped up, so that Max Unger of the "Harmonie" could find a place for his 'cello behind it, and there still be room for the inventor with his violin—a violin with a tradition, for Ole Bull had once played on it and in that same room, too, and had said it had the soul of a Cremona—which was quite true when Richard Horn touched its strings. ”

“ A brief strain in the wind in ardent temper is followed by another in the strings, and still a third in joint strings and wood. (Again we must rejoice in the achievement of true, simple, sincere melody.) The final glowing height is reached in all the choirs together,—final that is before the brass is added with a broader pace, that leads to the moving climax. As the horns had preluding chords to the whole song, so a single horn sings a kind of epilogue amid harmony of strings and other horns. Slowly a more vigorous pulse is stirred, in an interlude of retorting trumpets. ”

“ It blends admirably with all the other instruments of the wood-wind group, even its lowest tones being available in soft combinations without fear of cutting through the tonal mass.
The english horn, in reality, is a transposing instrument in F, though not so designated in the score. ”

“ The hunting horn finally adopted differs from the orchestral horn in consisting of an unbroken spiral of three turns, sufficiently large to be worn obliquely round the body, resting on one shoulder and passing under the opposite arm. The hands are thus left at liberty, and the mouthpiece can easily be brought to the lips by a single movement. ”

“ It is worthy of note that this new departure of employing a second couplet of horns in the symphonic scheme concludes the evolution of the classical orchestra. For the incorporation into the concert orchestra of the oboe da caccia, resuscitated in the form of the English horn, of the modern bass-clarinet, of the opheicleide and the usurper of its functions, the bass-tuba, was an outgrowth of the Romantic Movement. ”

“ Many a musician may dislike the symphony, but none can help [Pg 358] respecting it. The orchestra, though not large for our day, was revolutionary in its time. It included, in one movement or another (besides the usual strings) a small flute and two large ones; oboes; two clarinets, a small clarinet, and an English horn; four horns, two trumpets, two cornets à pistons, and three trombones; four bassoons, two ophicleides, four pairs of kettle-drums, cymbals, bells, and bass drum.
A challenge to the timid spirits of the time; and a thing of revolutionary significance to modern music. ”

“ Storm and fury of orchestra. There is a wild series of ascending fifths. Tam-tam and harp knell the soul’s departure.
IV. The “Transfiguration” theme is heard from the horns; strings repeat the “Childhood” motive. A crescendo leads to the full development of the “Transfiguration” theme (moderato, C major) , “World deliverance, world transfiguration.”
The scoring is as follows: three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, double bassoon, four horns, three trumpets, three trombones and bass tuba, kettledrums, tam-tam, two harps, and strings. ”

“ For I do not think I exaggerate when I maintain that the greatly developed technique of the valve horn has made it possible that a score which, with the addition of a third trumpet, a harp and a tuba, employs the same instruments as Beethoven used in his Fifth Symphony, has become with every bar something entirely different, something wholly new and unheard of. ”

“ But the revival of a more worldly civilisation in the cities of the late Middle Ages had created a new demand for musicians. Instruments like the horn, which had been used only as signal-instruments for hunting and fighting, were remodelled until they could reproduce sounds which were agreeable in the dance-hall and in the banqueting room. ”

“ That he had his own delicate feeling for238 color and sensuous effect is shown in many pages of the chamber music, especially in those works for unusual combinations, e.g., the Clarinet Quintet, and the Trio for Violin, Horn and Pianoforte. No one in modern times has used more eloquently that romantic instrument, the horn. See, for example, the Coda to the first movement of the D major Symphony and the slow movement of the Third Symphony. ”

“ In the second group (the wood-wind) are found the flute, piccolo, oboe, bassoon, English horn, double-bassoon, [Pg 116] clarinet, and bass clarinet. The English horn, double-bassoon, bass clarinet, and piccolo are not called for in the older compositions, hence are not always present in the orchestra.
10. In the third group (the brass choir) are found the French horn, (usually referred to as the horn) , trumpet (sometimes replaced by the cornet) trombone, and tuba.
11. The fourth group (percussion) consists of kettle drums, bass drum, cymbals, snare drum, triangle, bells, etc. ”

“ The wind instruments which have been most employed in chamber music are the flute, oboe, clarinet, and bassoon. Occasionally there is a short bit for horn, or for English horn, and rarely something for trumpet or saxophone. No special combination of these instruments either by themselves or with the piano has obtained signal favor, and we may therefore confine ourselves to mentioning with brief notice the various works of the great masters in turn. We will include likewise here their chamber works for wind instruments without pianoforte. ”

“ The tone of the English horn is fuller, nobler, and is very attractive in melancholy or dreamy music. There are few players on the English horn in this country, and it might be set down as a rule that outside of New York, Boston, and Chicago, the English horn parts are played by the oboe in America. No melody displays the true character of the English horn better than the Ranz des Vaches in the overture to Rossini's "William Tell"—that lovely Alpine song which the flute embroiders with exquisite ornament. ”

“ The first oboe of the same orchestra has a peculiar tone, which robs his instrument of its individuality and makes it resemble a clarinet. A well-known solo horn player produces from his instrument a tone which sounds more like that of a valve trombone or a euphonium than that of a French horn. Such individual faults injure the general effect of an orchestra’s playing, though they are not strictly to be classed under the head of qualities of orchestral performance. ”

“ In orchestral music the part for first horns naturally calls for the use of the higher harmonics, which are more easily obtained by means of a somewhat smaller and shallower mouthpiece3 than that used upon the second horn, which is called upon to dwell more on the lower harmonics. ”

“ There is a little tune which every Englishman knows, for it serves to call dogs with, when they are on tour in the streets. That tune is the theme which young Siegfried carols rejoicing in the forest; at least, he is supposed to do it; in reality it is the first horn-player placed in the wings of the theatre. The horn there illustrates rapturous vital power. ”

“ Among household curios are drinking horns elaborately etched, and frequently turned in a lathe. They were popular in the seventeenth and early eighteenth centuries, and the turned patterns then so common were copied by the silversmiths, who made silver tankards and drinking cups on the same models. The cornucopia or horn of abundance figures frequently in sculpture, paintings, and works of art. The horn is one of the early instruments of music (see Chapter XV) , and has long been associated with sports. ”