Thus modern players, contrary to what they believe, are not perpetuating a very old musical tradition, and have forgotten the style in which Dampierre and the whole of the 18th century played. This is the style which I am trying to revive under the name of ton classique (“classical style”), as opposed to the 19th century ton de vénerie (“hunting style”).
In the 18th century the trompe was still nothing more than a large trumpet (whence its name - French trompette) with a very large diameter coil so as to be worn over the shoulder. It was pitched in D because the court trumpets were also in D, and the playing style of this horn was also quite similar to that of the Baroque trumpet. This means that there is a whole repertoire ripe for rediscovery, left on one side by players because it does not suit the ton de vénerie; here is such an example from Dampierre's 24 Fanfares Nouvelles for 2 Cors de Chasse or 2 trumpets, which I have published in my book but which have been long neglected (III. 1).
Extrait des 24 Fanfares Nouvelles pour 2 cors de chasse ou 2 trompettes, de Dampierre
This makes it possible to vary the repertoire, because hunting fanfares and the “hunting style”, though very impressive in the forest, soon become monotonous in the concert hall.
Such is the early history of the horn and it is something which ought to interest most horn players. I also think there is much more to be discovered on the subject.
To add to the example given by Daniel Bourgue and to show the neglected resources of the trompe (which is after all nothing but a natural horn), I cannot resist the pleasure of reproducing here the charming Invocation Tyndare.
This short piece, written for 2 hunting horns in D and organ, requires the use of stopped notes. The very clear sound of this horn goes superbly with the organ but the valve horn, despite its more veiled sound, can also give a good account of this music with its fresh simplicity (III. 2).
Illustration 2