Reflections on the horn

Sonority is no doubt mostly dependent on the air column, on the way of breathing, on the relaxation before expelling, on the quality of the lips etc.; in short it is the physical quality of the person that counts, much more so than the make of the instrument. I have heard a hornist play an instrument with very small boring and bring forth incredible sonority. He was a 70 year old artist, whose name unfortunately does not mean much to the younger generation of horn players: Van Boextael.

The fervent « battle of the sound » between the French and the German schools had lasted for several decades, when finally (hardly 15 years ago!) negotiations for peace began. At last one understood that the solution lay in taking the best from each method. Characteristics of the French school: a neat way of playing (rather dry articulation), vibrato (justified when not exaggerated), legato very flexible, rather limited sonority and clear timbre that is often sensitive and touching. Instrument with small boring.

Characteristic of German school: unarticulated playing, almost no vibrato, legato somewhat forced, tone sometimes pressed, but rich and generous sonority. Instruments with large boring.