H. P. : Yes. In any case, I recommend the study of the F horn alone at the beginning of one's studies, for three reasons:
First, it is substantially lighter than a modern double horn, which thus avoids shoulder injuries in children.
Second, one has a clear idea of how a horn should sound, and one can later try to reach this ideal on the double horn.
The third reason: playing F horn gets one in better condition. It's just like when a swimmer uses weights in practice — when the handicap is removed, everything goes much better.
Brass Bulletin: One should, then, begin with the F horn?
H. P. : The best beginning is with children of primary school age, under 10 years old. For proof, look at the participants of the Horn Symposium — there are those who began at 6. One of the great soloists who began even earlier is Ifor James, who started on cornet at the age of 3. At 7 he performed on stage twice a day.
Early performance activity brings uncommon self-confidence; it's a headstart on this problem of performance.
With my son, I'm letting him play only natural horn until he's ten. I want him just to play, without any pressure, to find out all the things you can do on this instrument.
Brass Bulletin: What method books do you recommend?
H. P. : At first one should just play, not use any music. Play a few minutes, rest, and when the student has had enough, he should absolutely not be forced to practice. It should come spontaneously — whatever comes spontaneously sits better.
I use the natural horn method by Freiberg, followed by that of Schantl — you can also mix the two.
The next step is technical training: learning to hear and play intervals, rhythms. Unbeatable for interval study is the Schantl No. 2. This is the alpha and omega of basic study on the horn.
Schantl methods are pretty dry stuff and you have to mix in some little pieces that the student can already manage on the valve horn. You also have to look for some little pieces for the natural horn so that the student has a little fun and playing satisfaction.
When possible, duets and quartets should be included — it's good ear training.
Brass Bulletin: How many years should one stay on natural horn?
H. P. : There's no way to set that exactly — it depends on the development of the individual. When needed, one can always add more material or skip over certain parts.
But if a student does not really have what it takes to become a hornist, the teacher must inform him early enough and not just think about the lesson money; a teacher is there to impart information. And one should never awaken hopes for a music career in anyone who doesn't really have what it takes.
Brass Bulletin: What valve horn methods do you recommend?
H. P. : The Kopprasch etudes are always good. The modern etudes should come relatively late, when proficiency on the instrument is advanced. Then in the last half year of study one can work on the challenges of modern music.
It is important that at the beginning of learning valve horn one plays little pieces together with other instruments — not only chamber music, but especially with piano, to become accustomed to correct intonation.
Brass Bulletin: Could you tell us something about the history of the Vienna horn and its place in the world today?
H. P. : The Vienna horn [the Pumpenhorn] is a very special instrument, actually a relic of times long past. It is the only horn that has completely retained the dimensions of the classical horn, i.e. it evolved directly from the natural horn.
In Vienna the predecessor to the valve horn was built by Ullmann. The valve horn was also developed there. The pump-valves were the first really functional valves, as the other types of enclosed valves were technically speaking not yet practical.
Leopold Ullmann built the first properly functioning rotary valve horns between 1820 and 1830. Since this time the Vienna horn has changed technically only slightly. For 100 years nothing at all was changed.
The place of the Vienna horn? Vienna horns are played by the Vienna Philharmonic, and the Vienna Symphony is also going back to Vienna horns, since there are now good instruments available again.
Naturally, you can't do every kind of music on the Vienna horn, purely for reasons of sound. There is no horn on which you can play everything.
The advantage of the Vienna horn is the flexibility of the tone. It is very easy to blend with other instruments and to color the tone. The tone ranges from the softest pianissimo to the loudest heroic fortissimo without breaking.
The use of the Vienna horn today? The soloist, when he possesses the necessary courage, discipline, and strength can play certain pieces with it. I have for example in my repertoire on the Vienna horn the Mozart concertos, both Strauss concertos, the Hindemith concerto, Franz Strauss, and the Britten Serenade.
One can play other romantic concertos on it, but that is actually overstepping the bounds of what is appropriate for the horn.
One more large area: chamber music. For romantic chamber music the Vienna horn is unequalled in its sound.
Brass Bulletin: What kind of horn should the contemporary orchestral musician have, who has to play every kind of music?
H. P. : In today's orchestras — except in Austria — one cannot avoid playing double horn, because it matches the tonal requirements of a modern orchestra.
Indeed there are regional differences. In France, for example, they are going over to large bore double horns unfortunately (instead of the narrow French bores) and the music world is thereby losing something special.
Horns are a real factor in the differences between orchestras. Slowly all orchestras are beginning to sound alike and it's going to be uninteresting to go to a concert. One plays a little better, another a little worse, but I don't see much difference.
One could play a lot of F horn in today's orchestra, but the tone is somewhat different from that of the Vienna horn.
The ideal is to be found in only one horn section and that is the Vienna horn section, where without exception they play the same instrument. The ideal is perhaps also possible in England, where they've developed their own particular style of playing.
The different styles of horn playing should be preserved. We should judge other horn players not subjectively, but objectively, i.e. we must recognize the greatness in a performance even if it is in a style unfamiliar to us.
Brass Bulletin: Short answer: what do you about nervousness?
H. P. : What's nervousness?
Brass Bulletin: Horn workshops?
H. P. : Excellent... good contacts with the whole world... advice for everybody: listen, listen, listen.
Brass Bulletin: Conductors?
H. P. : Are there still any?
Brass Bulletin: B♭-high F horns, or let's say descant horns.
H. P. : I also use descant horns, but they should be in the hands of only really advanced players. Before that you should struggle along with a regular horn.
Brass Bulletin: Women horn players?
H. P. : Why not, they're nice people. There are naturally always problems in the section, but when you educate women as horn players, you have to give them a chance to practise the profession.
Brass Bulletin: Why are there so few professional women horn players in Europe?
H. P. : Old fashioned ideas, old prejudices.
Brass Bulletin: Should auditions always take place behind a curtain?
H. P. : Absolutely. But they get around that too.
Brass Bulletin: Would you tell us about your music collection?
H. P. : Yes. Two years ago I was doing some playing in Vienna. At the time I thought to call the daughter of my teacher Freiberg and I asked her if I could have some kind of memento from my teacher, an autographed picture, a piece of music, or an old horn.
I went there immediately and was astonished to see the entire famous collection of Karl Stigler and Gottfried von Freiberg.
From this conversation the greatest dream of my life was fulfilled: I was able to obtain this most important collection for the horn players of the world. I have built on the collection and today it includes some 10,000 titles.
Over 1,000 pieces for horn and piano, about 3,000 ensemble pieces, about 120 methods, about 3,500 horn etudes, hundreds of trios and duets, about 300 horn concertos with all parts, from the Baroque to today, many important autographs.
Some are already ready, it will take time for everything.
Brass Bulletin: How many are now published?
H. P. : Just a few — a few ensemble pieces, a few concertos. I'll have to get a teaching position first so as to have the time to get the rest ready for publishing.
I also have a collection of 80 historical instruments and continue to expand it. I look forward to any visits from colleagues (who let me know a little in advance) to whom I can show my collection.
I also place myself at the disposal of anyone who has questions about a certain piece.