Corno

Engelbert Schmid

The magic touch

Di Jean-Pierre Mathez

Parte 1

Valencia: the natural horn

Di Josep Antoni Alberola I Verdu

A modern corno da caccia

Bach’s highest horn parts expose a divide between historical sound and modern technique, prompting Friedbert Syhre and Ludwig Güttler to rethink the instrument itself.

Di Werner Wolf

Vitaly Bujanowsky

The world's Golden Horn

Called one of the Soviet school’s finest performers by Shostakovich, Vitaliy Buyanovskiy shaped horn playing through performance, teaching and composition.

Di Anatoly Barantsev

ARD Munich 1999

Horn Competition

Di Brass Bulletin

Oscillatory Mechanism of the Glotis in Horn Playing

A horn note may begin before it is heard, as subtle vocal-fold oscillations appear to prepare the airflow that the lips will ultimately shape.

Di Philippe-Henri Dejonker, Francis Orval, R. Miller, R. Sneppe

Parte 2

My contacts with the United States

About horns and how to play them

Double horn, descant, natural horn — which path? This article explores American vs German approaches and what it means to train a complete horn player.

Di Michael Höltzel

My new developed descant double horn

Why does the ideal horn not exist? Theo Westhof designs a new descant double horn to solve tuning and tone issues—without compromise.

Di Theo Westhof

On hunting horns and other similar instruments

Aus Pierre Trichets Traité des Instruments de Musique (um 1640)

I admit that hunting horns, horns, buccines, trumpets and bugles have no holes in their outline, no more than do trumpets and sackbuts. This does not prevent them from being polyphonic, however, and changing the sounds. Yet some consider that all these names are synonymous and mean almost the same thing among Frenchmen, as did cornu, lituus and buccina among the Romans, as some have thought. It is true that Festus believed the lituus to be a kind of small buccina and that Lipsius¹ (de mil. Ro., book 4) said that people did not at first distinguish between buccina and cornett, but that later they did so distinguish, as larger and more curved brass cornett were made. The buccina, according to the same author, was at first nothing other than an ox horn: et a bene nomen sumpsit, ut instrumentum quod bubus canit. Isidore draws the etymology from buccina a voce quasi vocinam dicas. Varro, however, believes it is so called because, when sounded, it sings “booboo”. Panciroll, explaining the shape of the buccina, also mentions the reason for its name in these words: usurpabant buccinas circa orificium, per quod vox immittebatur, angustas: in ima vero parte, ex qua sonus egreditur latas: erantque oblongae ad similitudinem buccini, quod purpurae genus est, unde et causa nomini.One of our French writers says that the huntsmen’s horn is not that which is used today but one of ivory or of horn; for the huntsmen of antiquity used only horns while the modern instruments are all of bronze. I readily grant that horns were formerly made but of horn and ivory, yet there is no doubt but that today they are made of other materials. Julio della Scala² (l. l. poët. c. 20 p. 78) gives evidence of it and says the Germans make them from boxwood but they are different from those used in the hunt: Nunc cornua germani e busco efficta multis foraminibus inflant magno spiritu non sine gratia et decore, praesertim in nocturnis festivitatibus. Vocem namque humanam imprimis imitantur, eamque vehementer contentam. Varro says that cornu a curvore dictum fuit. But Fungerus derives this word from the Greek kéras, or from the Hebrew, which is written almost the same.The first origin of the hunting horn lies in the fact that shepherds used to call their flocks by means of its sound; in this connection Columella wrote that the beasts must be accustomed to return to their pen at the sound of the buccina. Huntsmen then used it to call their dogs and their falcons, from whence it is called huchet [from the French hucher, “to call” — Ed.] as well as cornet. La Boderie gives us a charming description of the use of this in his poem:The more his horn the huntsman sounds,The more do run and call his hounds;It imitates the trumpet shrill,Sounds now the quarry, now the kill.Sometimes one finds huntsmen so skilful that they can play on their horns as many different sounds as on a trumpet; Le Fouilloux has discussed this so fully in his book on hunting that there is no need to speak further of it.

Di Pierre Trichet

The first european horn symposium

A week in Trossingen brought leading horn players, Mozart debates, natural-horn controversies and lasting friendships at a landmark European gathering.

Di Jeffrey Agrell

Parte 4

Zen and the Art of Horn playing

From meditation to distance running, horn playing becomes a way of quieting mental noise, linking breath, concentration, and daily life.

Di Jeffrey Agrell

Parte 4

Instrument Makers in USA

Lawson Horns

Walter Lawson built horns by testing alloys, valves and leadpipes with unusual precision, while keeping craftsmanship, musicians and acoustics closely connected.

Di Stephan Suter

Investing in musical excellence - Hornclass international 2001

Di Zdenek Divoky

The F/Bb horn with whole-tone ascending 3rd valve

A different horn, a different approach: Francis Orval explores how an ascending 3rd valve reshapes technique, intonation and response.

Di Francis Orval