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See also:HORN (See also:Lat. See also:cornu; corresponding terms being Fr. See also:cor, trompe; Ger. Horn; Ital. corno) , a class of See also:wind See also:instruments primarily derived from natural See also:animal horns (see above), and having the See also:common characteristics of a conical See also:bore and the See also:absence of lateral holes . The word " See also:horn " when used by See also:modern See also:English musicians always refers to the See also:French horn . Modern horns may be divided into three classes: (1) the See also:short horns with wide bore, such as the bugles (q.v.) and the See also:post-horn . (2) The saxhorns (q.v.), a See also:family of hybrid instruments designed by Adolphe See also:Sax, and resulting from the See also:adaptation of valves and of a See also:cup-shaped See also:mouthpiece to instruments of the calibre of the See also:bugle . The Flugelhorn family is the See also:German See also:equivalent of the saxhorns . The natural See also:scale of instruments of this class comprises the See also:harmonic from the second to the eighth only . (3) The French horn (Fr. See also:cor de See also:chasse or trompe de chasse, cor a pistons; Ger . Waldhorn, Ventilhorn; Ital. corno or corns di caccia), one of the most valuable and difficult wind instruments of the See also:orchestra, having a very slender conical See also:tube See also:wound See also:round in coils upon itself . It consists of four See also:principal parts—the See also:body, the crooks, the slide and the mouthpiece . See also:object: (1) See also:pitch; (2) range or scale of available notes; (3) quality of See also:tone or timbre; (4) dynamic variation, or See also:Acoustics. crescendo and diminuendo . The pitch of the horn, as of other wind instruments, depends almost exclusively on the length of the See also:air-See also:column set in vibration, and remains practically uninfluenced by the See also:diameter of the bore . In the See also:case of conical tubes in which the difference in diameter at the two extremities, mouthpiece and See also:bell, is very See also:great, as in the horn, the pitch of the tube will be slightly higher than its theoretical length would See also:warrant.' When, for instance, three tube,* of the same length are sounded—No. i, conical diverging; No .
2,
1 See See also:Michael See also:Praetorius, De organographia (See also:Wolfenbuttel, 1618), tab, viii., where crooks for lowering the See also: 3 . Victor Mahillon' adds that the See also:rate of vibration in such conical tubes as the horn is slightly less than the rate of vibration in See also:ambient air; therefore, as the rate of vibration (i.e. the number of vibrations per second) varies in the inverse ratio with the length of the tube, it follows that the See also:practical length of the horn is slightly less than the theoretical, the difference for the horn in By normal pitch amounting to 13.9 cm . (approximately See also:J2 in.) . The tube of the horn behaves as an open See also:pipe . E . F . F . Chladni2 states that the mouthpiece end is to be considered as open in all wind instruments (excepting See also:reed instruments), even when, as in horns and trumpets, it would seem to be closed by the lips . Victor Mahillon, although apparently holding the opposite view, and considering as closed the tubes of all wind instruments played by means of reeds, whether single or See also:double, or by the lips acting as reeds, gives a new and practical explanation of the phenomenon.' The result is the same in both cases, for the closed pipe of trunco-conical bore, whose diameter at the bell is at least four times greater than the diameter at the mouthpiece, behaves in the same manner, when set in vibration by a reed, as an open pipe, and gives the consecutive scale of harmonics.' In See also:order to produce See also:sound from the horn, the performer, stretching his lips across the See also:funnel-shaped mouthpiece from rim to rim, blows into the cavity . The lips, vibrating as the breath passes through the See also:aperture between them, communicate pulsations or See also:series of intermittent shocks to the thin stream of air, known as the exciting current, which, issuing from them, strikes the column of air in the tube, already in a See also:state of stationary vibration.' The effect of this series of shocks, without which there can be no sound, upon the column of air confined within the walls of the tube is to produce sound-waves, travelling longitudinally through the tube . Each sound-See also:wave consists of two See also:half-lengths, one in which the air has been compressed or condensed by the impulse or push, the second in which, the push being spent, the air again dilates or becomes rarefied . In an open pipe, the wave-length is theoretically equal to the length of the tube . The pitch of the See also:note depends on the frequency per second with which each vibration or See also:complete sound-wave reaches the See also:drum of the See also:ear . The longer the wave the lower the frequency . The velocity of the wave is See also:independent of its length, being solely conditioned by the rate of vibration of the particles composing the conveying See also:medium: while one individual particle performs one complete vibration, the wave advances one wave-length.' The rate of particle vibration or frequency is therefore inversely proportional to the corresponding wave-length ? Sound-waves generated by the same exciting current travel with the same velocity whatever their length, the difference being the frequency number and therefore the pitch of the note . As See also:long as the per-former blows with normal force, the same length of tube produces the same wave-length and therefore the same frequency and pitch . By " blowing with normal force " is understood the proper relative proportions to be maintained between the wind-pressure and the See also:lip-tension—a ratio which is found instinctively by the performer but was only suspected by the older writers.' If the shocks or vibrations initiated by the lips through the medium of the exciting current be sharper owing to the increased tension of the lips, and at the same See also:time succeed each other with greater velocity, the wave-length breaks up, and two, three or more proportionally shorter ' Les Instruments de musique au musee du See also:Conservatoire royal de musique de Bruxelles, " Instruments a vent," ii.," Le Cor, son histoire, sa theorie, sa construction " (Brussels and See also:London, 1907), p . 28 . 2 Die Akustik (Leipzig, 1802), p . 86, § 72 . Op. cit. p . 13, § 20, and p . 15, §§ 24 and 25 .
This apparent discrepancy between an See also:early and a modern authority on the acoustics of wind instruments is easily explained
.
Chladni, when speaking of open and closed pipes, refers to the See also:standard cylindrical and rectangular See also:organ-pipes
.
Mahillon, on the other See also:hand, draws a distinction in favour of the conical pipe, demonstrating in a practical manner how, given a certain calibre, the conical pipe must overblow the harmonics of the open pipe, whatever the method of producing the sound
.
' See Gottfried Weber, loc. cit
.
' See See also:Ernst Heinrich and Wilhelm Weber, Wellenlehre (Leipzig; 1825), p
.
519, § 281, and A See also:Text-See also:Book of Physics, See also:part. ii., " Sound,' by J
.
H
.
Poynting and J
.
J
.
See also:Thomson (London, 1906), pp
.
1o4 and 105
.
' See See also:Sedley See also: 21 . 2 Id. pp . 23-25 . ' See Gottfried \Veber, op. cit., pp . 39-41, and Ernst 11. and Wilhelm Weber, op. cit. p . 522, end of § 285.complete waves See also:form instead of one, and See also:traverse the pipe within the same space of time, producing sounds proportionally higher by an See also:octave, a twelfth, &c., according to the See also:character of the initiatory disturbance . We may therefore add this proposition: the rate of vibration of atube varies as the number of segments into which the vibrating column of air within it is divided . In order to obtain the fundamental, the performer's lips must be loose and the 'wind-pressure See also:gentle but steady, so that the exciting current may issue forth in a broad, slow stream . To set in vibration a column of air some i6 or 17 ft. long is a,feat of extreme difficulty; that is why it is quite exceptional to find a horn-player who can sound the fundamental on the See also:low C or BY basso horns . In the organ, where even a 32 ft. tone is obtained, the wind-pressure and the lip-opening See also:con-trolling the exciting current are mechanically regulated for each length of pipe—only one note being required from each . In order, therefore, to induce the column of air within the tube to break up and vibrate in See also:aliquot parts, the exciting current must be compressed into an ever finer, tenser and more incisive stream . There is in fact a certain minimum pressure for each degree of tension of the lips below which no harmonic can be produced . It is often stated that the harmonics are obtained by increasing the tension of the lips and a crescendo by increasing the pressure of the breath.' Victor Mahillon10 accounts for the harmonics by increased wind-pressure only . It is evident that the greater the tension of the lips, the greater the force of wind required to set them vibrating; therefore the force and velocity of the air must vary with the tension of the lips in order to produce a steady or musical sound . D . J . Blaikley considers that the ratio of increase in lips and breath follows that of the harmonic series . The tension of the lips has the effect of reducing the width of the slit or aperture between them and the width of the exciting current . While increasing its See also:density the See also:energy of the wind must, therefore, either expend itself in increasing the rate of vibration, or frequency of the pulses, which influences the pitch of the note; or else in increasing the extent of excursion or See also:amplitude of the vibrations, which influences the dynamic force of the sound or loudness.11 If the aperture be narrowed without providing a proportional increase of wind-pressure, the harmonic over-tone may be heard, but either the intonation will suffer or the in-tensity of the tone will be reduced, because the force required to set the tenser membrane in vibration is insufficient to give the vibrations the requisite amplitude as well as the frequency . If the force expended be excessive, i.e. more than the maximum required to ensure the increased frequency proportional to the increased tension, the superfluous energy must expend itself in increasing the amplitude of the vibrations so that a note of a greater degree of loudness as well as of higher pitch will be produced . The converse is equally true; the lower the pitch of the note the slower the pulses or vibrations and therefore the looser the lip and the gentler the force of current required to set them vibrating . To draw a parallel from organ-pipes: as long as even wind-pressure is maintained, the mouthpiece being fixed proportional to the length of tube, the pipe gives out one note of unvarying dynamic intensity; increase the pressure of the wind and harmonics are heard, but it is impossible to obtain a crescendo unless the mouthpiece be dispensed with and a See also:free reed (q.v.) adapted . Reference has already been made above to the difficulty of obtaining the fundamental on tubes of great length and narrow bore like the horn . The useful See also:compass of the horn, therefore, begins with the note that an open pipe half its length would give; the Germans See also:term instruments of such small calibre half instruments, and those of wide calibre, such as bugles and tubas, whole instruments,12 since in them the whole of the length of the tube is available in practice . The harmonic series of the horn, or the open notes obtainable without using valves or crooks, is written as for the See also:alto horn in C of 8 ft. tone, which forms the standard of notation . Notes written in the See also:bass clef are generally, for some unexplained See also:reason, placed an octave lower than the real sounds . Written and sounded . Written . Sounded . -_ 4 5 6 7 S 9 10 11 12 13 14 15 16 ' See A . Ganot, Elementary See also:Treatise on Physics, translated 6'y E . See also:Atkinson (16th ed., London, 1902), p . 266, § 282, " In the horn different notes are produced by altering the distance of the lips." Such a vague and misleading statement is worse than useless . See also Poynting and Thomson, op. cit. p . 113 . " Le Cor," p . 22; p . 11, § 18; pp . 6 and 7, § 8 . " The phraseology alone is here borrowed from Sedley Taylor, (op. cit. p . 55), who does not enter into the practical application of the theory he expounds so clearly . 12 See Dr Emil Schafhautl's See also:article on musical See also:instrument', § iv. of Bericht der Beurtheilungs See also:Commission-bei der Allg . Deutschen Industrie Ausstellung, 1854 (See also:Munich, 1855), pp . 169-17o; also F . Zammuher,lcp. cit . All the crooks, a See also:list of the principal of which is appended, therefore French horns are made with either two or three valves . To the necessarily give real sounds lower than the above series according to first See also:valve is attached sufficient length of tubing to lower the pitch their individual length. of the instrument a tone, so that any note played upon the horn in F Table of Principal Crooks now in Use.' Key of Actual Sounds of Range of Useful Harmonics . Length of Transposes to Crook .
Crook in
Inches
.
Bb alto 2nd to loth 16 See also:major 2nd lower
__~ _
2 3 4 5 6 7 8 9 io
Aq - 2nd to loth 22 s
—= aL = See also:minor 3rd
2 3 4 5 6 7 8 9 10
A5 --
.
--_t— 2nd to loth 29e major 3rd „
3= =
_=
2 3 4 5 6 7 8 9 Io
G 0--°=-- 2nd to 12th 361 perfect
,4th
2 3 4 5 6 7 8 9 10 II 12
F 2nd to 16th 52; perfect 5th
--
2 3 4 5 6 7 8 9 10II 12 13 14 15 16
-- znd to 16th 61 minor 6th
• 3 4 5 6 7 8 9 10 II 12 13 14 15 16
Eb _ — 2nd to 16th 701 major 6th ,; „
2 3 4 5 6 7 8 9 10 II 12 13 14 15 16
ll_ y 0_ — 2nd to 16th $o minor 7th
-at 2 5 6
12 13 14
3 4 7 8 9 10 II 15 16
C basso 1~-_ _~
.
~ 3rd to 16th 10I Else'
3 4 5 6 7 8 9 10 II 12 13 14 15 i6
Bb basso -~,t' — 3rd to 16th 125 major 9th
f
_ _ I 3 4 5 6 7 8 9 10 11 12 13 14 15 16
The practical aggregate compass of the natural horns from Bb basso at the service of composers therefore ranges (actual sounds) s
from
fz~
By means of hand-stopping, i.e. the practice of thrusting the hand into the bell in order to lower the sound by a tone or a semitone, or I,y the adaptation of valves to the horn, this compass may be rendered See also:chromatic almost throughout the range
.
The principle of the valve as applied to wind instruments differs entirely from that of keys
.
The latter necessitate lateral holes bored through the tube, and when the keys are raised the vibrating column of air within the tube and the ambient air without are set in communication, with the result that the vibrating column is shortened and the pitch of the note raised
.
The valve See also:system consists of valves or pistons attached to additional lengths of tubing, the effect of which is invariably to lower the pitch, except in the case of valve systems specified as " ascending " tried by See also: V . Mahillon, " Le cor " (p . 32), gives a table of the lengths of crooks in metres . 2 See also:Robert Eitner, editor of the Monatshefte See also:fur Musikwissenschaft, published therein an article in 1881, p . 41 seq., " Wer See also:hat die Ventil-while the first valve is depressed takes effect a tone lower, or as though the horn were in Eb . The second valve opens a passage into a shorter length of tubing sufficient to lower the pitch of the instrument a semitone, as though the instrument were for the time being in E . The third valve similarly lowers the pitch a tone and a half . It will thus be seen that the principle applied in the crook and the valve is in the main the same, but the practical value of the valve is immeasurably See also:superior . Thanks to the valve system the performer is able to have the extra lengths of tubing necessary to give the horn a chromatic compass permanently incorporated with the instrument, and at will to connect one or a See also:combination of these lengths with the main tube of the instrument during any See also:interval of time, however short . The three devices, crooks, valves and slides, are in fact all based upon the same principle, that of providing additional length of tubing in order to deepen the pitch of the whole instrument at will and to transpose it into a different key . Valves and slides, being instantaneous in operation, give to the instrument a chromatic compass, whereas crooks merely enable the performer to See also:play in many keys upon one instrument instead of requiring a different instrument for each key . The slide is the See also:oldest of these devices, and probably suggested the crook as a substitute on instruments of conical bore such as the horn . The invention of the valve, although a substantial improvement, trompete erfunden,” in which, after referring to the Klappenwaldhorn and Trompete (keyed horn and trumpet) made by Weidinger and played in public in 18o2 and 1813 respectively, he goes on to state that Schilling in his See also:Lexicon makes the comical See also:mistake of looking upon the Klappentrompete (keyed trumpet) and Ventiltrompete ((valve trumpet) as different instruments . He accordingly sets matters right, as he thinks, by according to Weidinger the See also:honour of the invention of valves, hitherto wrongfully attributed to Stolzel; and in the Quellenlexikon (1904) he leaves out Stelzel's name, and names Weidinger as the inventor of the Klappen or Ventil, referring readers for further particulars to his article, just quoted, in the Monatshefte . — or with 3 valves ._-_to= -- from was found to fall short of perfection in its operation on the tubes of wind instruments so soon as the possibility of using the.three valves in combination to produce six different positions or series of harmonics was realized, and for the following reason . In order to deepen the pitch one tone by means of valve 1, a length of tubing exactly proportional to the length of the main tube must be thrown into communication with the latter . If, in addition to valve 1, valve 3 be depressed, a further drop in pitch of 11 tone should be effected; but as the length of tubing added by depressing valve 3 is calculated in proportion to the main tube, and the latter has already been lengthened by depressing valve 1, therefore the additional length supplied by opening valve 3 is now too short to produce a drop of a minor third strictly in tune, and all notes played while valves i and 3 are depressed will be too See also:sharp . Means of compensating slight errors in intonation are provided in the U-shaped slides mentioned above . The timbre of the natural horn is mellow, sonorous and See also:rich in harmonics; it is quite distinctive and bears but little resemblance to that of the other members of the See also:brass wind . Ii listening to its sustained notes one receives the impression of the tone being breathed out as by a See also:voice, whereas the trumpet and trombone produce the effect of a rapid series of concussions, and in the See also:tuba and See also:cornet the concussions, although still striking, are softened as by See also:padding . The timbre of the hand-stopped notes is veiled and suggestive of See also:mystery; so characteristic is the timbre that passages in the Rhein-See also:gold heard when the magic See also:power of the Tarnhelm reveals itself sound meaningless if the weird chords are played by means of the valves instead of by hand-stopping . The timbre of the See also:piston notes is more resonant than that of the open no-as, partaking a little of the character of the trombone, which is probably due to the fact that the strictly conical bore of the natural horn has been replaced by a mixed cylindrical and conical as ii. trumpet and trombone . The form of the mouthpiece (q.v.) at the point where it joins the main bore of the tube must also exercise a certain See also:influence on the form of vibration, which it See also:helps to modify in See also:conjunction with the conformation of each individual horn-player's lip . In the horn the cup of the mouthpiece is shaped like a funnel, the bore converging insensibly into the narrow end of the main conical bore without break or sharp edges as in the mouthpieces, more properly known as cup-shaped, of trumpet and See also:bombardon . The brilliant sonorousness and roundness of the timbre of the horn are due to the strength and predominance of the partial tones up to the 7th or 8th . The prevalence of the higher harmonics from the loth to the 16th, in which the partial tones See also:lie very See also:close together, determines the harsh quality of the trumpet timbre, which may be easily imitated on the horn by forcing the sound See also:production and using a trumpet mouthpiece, and by raising the bell, an effect which is indicated by composers by the words " Raise the Bells."' The origin of the horn must be sought in remote prehistoric times, when, by breaking off the tip of a short animal horn, one or at best two notes, powerful, rough, unsteady, only See also:History. barely approximating to definite musical sounds, were obtained . This was undoubtedly the archetype of the modern families of brass wind instruments, and from it evolved the trumpet, the bugle and the tuba no less than the horn . The common characteristics which See also:link together these widely different modern families of instruments are: (1) the more or less pronounced conical bore, and (2) the See also: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 See also:evolution of the animal horn throughout the centuries, the ultimate development leads us not to the French horn but to the bugle and tuba . Before See also:civilization had dawned in classic See also:Greece, See also:Egypt, See also:Assyria and the Semitic races were using wind instruments of See also:wood and See also:metal which had See also:left the See also:primitive See also:ram or bugle horn far behind . Even in See also:northern See also:Europe, during the See also:Bronze See also:age (c. moo B.c.), prehistoric See also:man had evolved for himself the prototype of the See also:Roman See also:cornu, a bronze horn of wide conical bore, See also:bent in the shape of a G . One of these instruments, known among the modern Scandinavian races as luurs or lurs, found in the See also:peat beds of See also:Denmark and now preserved in the Museum of Northern Antiquities in See also:Copenhagen, has a length of 1.91 M . (about 6 ft . 4 in.) . The U-shaped mouthpiece See also:joint is neatly joined to the See also:remainder of the See also:crescent-tube by means of a bronze See also:ring; the bell, which must have rested on the See also:shoulder, consists merely of a See also:flat rim set round the end of the tube . There is therefore no graceful See also:curve in the bell as in the French horn .
An exact facsimile of this prehistoric horn has been made by Victor Mahillon of Brussels, who finds that it was in the key of Eb and easily produces the first eight harmonics of that key
.
It stands, therefore,
1 See See also:Hector See also:Berlioz, A Treatise on Modern See also:Instrumentation and Orchestration, translated by See also:Mary Cowden See also:
The See also:lituus, or See also:cavalry trumpet of the Romans, consisted of a cylindrical tube, to which was attached a bent horn or conical bell, the whole in the shape of a J
.
The long, straight Roman tuba was similar to the large, bent cornu so far as bore and capabilities were concerned, but more unwieldy
.
All these wind instruments seem to have been used during the classic Greek and Roman periods merely to sound fanfares, and therefore, in spite of the high degree of perfection to which they attained as instruments, they scarcely possess any claim to be considered within the domain of music
.
They were signalling instruments, mainly used in See also:war, in hunting and in state or civic ceremonial
.
See also:Vegetius (A.D
.
386) describes these instruments, and gives detailed instructions for the See also:special traditional uses of tuba, buccina and cornu in the military See also:camp: " Semivocalia sunt, quae per tubam, See also:aut cornua, aut buccinam dantur
.
Tuba quae directa est appellatur buccina, quae in semet ipsam aereo circulo flectitur
.
Cornu quod ex uris agrestibus, argento nexum, temperatum arte, et spiritu, quem canentis flatus emiftit auditur.4 It will be seen that Vegetius demands a skilled horn-player
.
These service instruments may all be identified in the celebrated bas-reliefs of Trajan's Column' (fig
.
1) and of the Triumphal See also:arch of See also:Augustus at See also:Susa.6
Interesting See also:evidence of a collegium cornicinum (gild of horn-players) is furnished by an See also:altar See also: 388, No . 1156, where an See also:illustration is given . See also Dr See also:August Hammerich (French See also:translation by E . See also:Beauvais), " tJber altnordische Luren " in Vierteljahrschrift fur Musik-Wissenschaft X . (1894) . 'See Major J . H . L . See also:Archer, The British See also:Army Records (London, 1888), pp . 402, &C . 4 De re militari, iii . 5 (See also:Basel, 1532) . The successive See also:editions and See also:translations of this classic, both See also:manuscript and printed, throughout the middle ages afford useful evidence of the evolution of these three wind instruments . ' See Wilhelm Froehner, La Colonne Trajane d'aprks le surmoulage execute a See also:Rome en 1861–1862 (See also:Paris, 1872–1874) . On-pl . 51 is a cornu framing the See also:head of a cornicen or horn-player . See also the See also:fine plates in See also:Conrad Cichorius, Die Reliefs der Traiansaule (See also:Berlin, 1896, &c.) . c Ermanno Ferrero, L'Arc d'Auguste a Suse (See also:Segusio, 9-8 B.c.) (See also:Turin, 1901) . 7 See the mouthpiece on the Pompeian buccinas preserved in the museum at See also:Naples, reproduced in the article BUCCINA . The museums of the conservatoires of Paris and Brussels and the Collection Kraus in See also:Florence possess facsimiles of these instruments; see Victor Mahillon, See also:Catalogue, vol. ii. p . 3o . Cf. also the pair of bronze See also:Etruscan cornua, No . 2734 in the department of Greek and Roman antiquities at the British Museum, which possess well-preserved cup-shaped mouthpieces . See also:century was provided with a mouthpiece,' judging from a carved specimen on an See also:ivory capsa or Pyxis dating from the See also:period immediately preceding the fall of the Roman Empire, preserved among the See also:precious See also:relics at Xanten .
After the fall of the Roman Empire, when instrumental music had fallen into disrepute a r.c had been placed under a See also:ban by the See also:
246
.
' Engelbertus Admontensis in De Musica Scriptores, by See also: One of these, given in fig . 3, is the English 16th-century hunting See also:call, corresponding to the 14th-century French Cornure de chasse de veue given above . See also:alien* Mae both See also:hake daunt, WM) See also:tart See also:Mate, From Turbevile's Noble See also:Ark of Venerie (1576), by permission of the See also:Clarendon See also:Press . FIG . 3.-Hunting Call . The hunting-horn, whether in its simplest form or with the one spiral, was held with the bell upwards on a level with the hunts-man's head or just above it., A horn of the same fine calibre as the French horn, 3 or 4 ft. in length, slightly bent to take the curve of the body, was in use in See also:Italy, it would seem, in the 15th century ? It was held slanting , across the body with the bell already slightly parabolic, at See also:arm's length to the left See also:side . The hunting- and post-horns were favourite emblems on medieval coats of arms, more especially in See also:Germany 8 and Bohemia . It is necessary at this point to draw See also:attention to the fact that the French horn is a hybrid having See also:affinities with both trumpet and primitive animal horn, or with buccina and cornu, and that both types, although frequently misnamed and confused by medieval writers and miniaturists,subsisted side by side,evolving independently until they merged in the so-called French horn . Both buccina and cornu after the fall of the Roman Empire, while Western arts and ' Le Tresor de vnerie See also:par See also:Hardouin, seigneur de Fontaines-See also:Guerin (edited by H . Michelant, See also:Metz, 1856); the first part was edited by See also:Jerome Pichon (Paris, 1855), with an See also:historical introduction by Bottee de Toulmon . 6 As worked out by Edward Buhle, op. cit., p . 23 . 6 See Turbevile, op. cit., also J. du Fouilloux, La Venerie (Paris, 1628), p . 70; cf. also editions o 165o and of 1562, where the horn is called trompe, used with the verb corner; Juliana Bernes, Boke of St Albans (1496), the See also:frontispiece of which is a hunting See also:scene showing a horn of very wide bore, without bell . Only half the instrument is visible . 7 See " Reliure italienne du xve siecle en argent nielle . Collection du See also:Baron Nathaniel de See also:Rothschild, See also:Vienne," in See also:Gazette archeologiaue (Paris, i88o), xiii. p . 295, pl . 38, where other instruments are also represented . 8 See See also:Jost See also:Amman, Wappen and Stammbuch (1589) . A reprint in facsimile has been published by Georg Hirth as vol. iii. of Liebhaber Bibliothek (Munich, 1881) . See arms of Sultzberger aus See also:Tirol (p . 52), " Ein Jagerhornlin," and of the See also:Herzog von Wirtenberg; cf. the latter with the arms of Wurthemberch in pl. xxii. vol. ii. of Gelre's Wappenboek ou armorial de 1334 a 1372 (miniatures of coats of arms in facsimile), edited by Victor Bouton (Paris, 1883) . '!~I~iEi +~.'Jll1r,i leien,~~ i .~lrA~%AilnidV~s n1AXi'w See also:weir A,,.0 From Conrad Cichorius, Die Reliefs der Traiansdute, by permission of Georg Reimer . INiii/riaa Illdl MEIN II111iiiwiii%rL IM _1lIlzII 1'Iz11LTALll zu:zz. zxz r=.Y ff!^/1li11^1/111/%fl/YY1f ! : 11111 ^ ~111~ZZZZIrlr r >.r r:rr=y~ ^o2 crafts were in their See also:infancy, were made straight, being then known as the busine or straight trumpet (busaun or posaun in Germany), and the long horn, Herhorn, slightly curved.' From two medieval representations of instruments like the Roman cornu one might be led to conclude that the instrument had been revived and was in use from the 14th century . A wooden has-See also:relief on the under part of the seats of the See also:choir of See also:Worcester See also:cathedral,' said to date from the 14th century, shows a musician in a robe with long sleeves of fur playing the horn (fig . 4) . The tube winds from the mouth in a circle reaching to his See also:waist, passes under the right arm across the shoulders with the bell stretch- See also:ing out horizontally over his left shoulder . The tube, of strictly conical bore, is made in three pieces, the See also:joints being strength- ened by means of Circular Horn . Circular Horn, 1589. example is German, and figures in the arms of the See also:city of See also:Frankfort-on-Main.' Here in the two opposite corners are two cherubs playing immense cornua . The bore of the instruments (fig . 5) is of a calibre suggestive of the contrabass tuba; the circle formed is of a diameter sufficiently large to accommodate the youthful performer in a sitting posture; the bell is the fore-runner of that of the modern See also:saxophone, shaped like a gloxinea; the mouthpiece is cup-shaped . It is possible, of course, that these two examples are attempts to reproduce the classic instrument, but the figures of the musicians and the feeling of the whole See also:scheme of ornamentation seem to render such an explanation improbable . Moreover, See also:Sebastian Virdung,4 See also:writing on musical instruments at the beginning of the 16th century, gives a See also:drawing of a cornu coiled round tightly, the tubing being probably soldered together at certain points .
Virdung calls this instrument a Jegerhorn, and the short hunting-horn Acherhorn (Ackerhorn—the synonym of the modern Waldhorn)
.
The scale of the former could have consisted only of the first eight harmonics, including the fundamental, which would be easily obtained on an instrument of such a large calibre
.
See also:Mersenne,b a century and a See also:quarter later, gives a drawing of the same kind of horn among his cons de chasse, but does not in his description display his customary intimate knowledge of his subject; it may be that he was dealing at second-hand with an instrument of which he had had little practical experience
.
Praetorius 8 gives as Jagerhorn only the See also:simple forms of crescent-shaped horns with a single spiral; the spirally-wound horn of Virdung is replaced by a new instrument—the Jdgertrummet (hunts-man's trumpet)—of the same form, but less cumbersome, of cylindrical bore excepting at the bell end and having a crook inserted between the mouthpiece and the main coils
.
The tube, which could . not have been less than 8 ft. long, 'produced the harmonic series of the cavalry trumpet from the 3rd to the 12th
.
The restrictions placed upon the use of the cavalry trumpet would have rendered it unavailable for use in the hunting-See also: 150, 9th century; Add . MS . 24, 199, loth century ; Eadwine Psalter, Trin . See also:Coll . Camb., 1 I th century, and See also:Cotton MS., See also:Nero, D.IV., 8th century ; also Edward Buhle, op. cit., pl. ii. and pp . 12-24 . See John See also:Carter, Specimens of See also:Ancient See also:Sculpture and Paintings (London, 1780-1794), i. p . 53 (plates unnumbered); also reproduced in H . Lavoix, Histoire de la musique (Paris, 1884) . ' See Jost Amman, op. cit . Musica getutscht and ausgezogen (Basel, 1511), p . 30 . 
The names are not given under the drawings, but the above is the order in which they occur, which is probably reversed
.
flarmonie universelle (Paris, 1636), p
.
245
.
8 Syntagma Music-um (Wolfenbiittel, 1618), p1. vii
.
No. p
.
39
.
7 Historisch-biographisches Lexicon der Tonkiinslter (Leipzig, 1790–1792 and 1812-1814)
.
8 De saecularibus Liberalium Artium in Bohemia et See also:Moravia fatis commentarius (See also:Prague, 1784), p
.
401
.
0 See Ernest Thoinan, Les Origines de la chapelle musique des souverains de France (Paris, 1864) ; F
.
J
.
Fhtis, " Recherches sur la musique des rois de France, et de quelques princes depuis Philippe le See also:Bel jusqu'a la fin du regne de See also: 193, 217, 233, 241, 257; Castil-See also:Blaze, La Chapelle musique des rois de France (Paris, 1882) ; See also:Michel Brenet, " Deux comptes de la chapelle musique des rois de France," Intern . See also:Mus . Ges., Smbd. vi., i. pp . 1-32; J . Ecorcheville, " Quelques documents sur la musique de la grande 6curie du roi," Intern . Mus . Ges., Smbd. ii . 4 (Leipzig, 1901), pp . 608-642 . 10 Neue Zeitschrift f . Musik (Leipzig, 187o), p . 309 . n See Die See also:San/mixing der Musikinstrumente des baierischen Nat . Museum by K . A . Bierdimpfl (Munich, 1883), Nos . 105 and 106 . 12 Communication from Dr Georg See also:Hagen, assistant director . horizontally over the left shoulder (fig . 6) . There is ample See also:room for the performer's head and shoulders to pass through the circle; the length of the tube could not therefore have been much less than i6 ft. long, equivalent to the horn in C or Bb basso . In the same book (pl. ccci.) is another horn, smaller, differing slightly in the disposition of the coils and held like the modern horn in front . These horns were not used for hunting but for war in conjunction with the draw-trumpet . Brant could not have imagined these instruments, and must have seen the originals or at least drawings of them; the instruments probably emanated from the famed workshops of See also:Nuremberg, being intended mainly for use in Italy, and had not been generally adopted in Germany . The significance of these drawings of natural horns in a German work of the See also:dawn of the 16th century will not be lost . It disposes once and for all of the oft-repeated See also:fable that the hunting-horn first assumed its present form in France about 168o, a statement accepted without question by authorities of all countries, but without reference to any piece justificative other than the See also:story of the Bohemian FIG . 6.—Spirally ;See also:Count Sporken first quoted by See also:Gerber, 7 and Coiled Horn from repeated in most musical works without the Virgil's Works 'context . The See also:account which gave rise to (1502), See also:folio cccviii . this statement had been published in 1782 versa . in a book by Faustinus Prochaska: 8 " Vix Parisiis inflandi cornua venatoria inventa ars quum delectatus suavitate cantus duos ex hominibus See also:sibi obnoxiis See also:ea instituendos curavit . Id principium apud nos artis, qua hodie Bohemi excellere putantur." In a preceding passage after the count's name, See also:Franz Anton, See also:Graf von Sporken, are the words " See also:anno saeculi superioris octogesimo quum iter in externas provincias suscepisset," &c . There is no reference here to the invention of the horn in Paris or to the folding of the tube spirally, but only to the manner of eliciting sound from the instrument . Count Sporken, accustomed to the medieval hunting fanfares in which the tone of the horn approximated to the blare of the trumpet, was merely struck by the musical quality of the true horn tone elicited in Paris, and gave France the See also:credit of the so-called invention, which probably more properly belonged to Italy . The account published by Prochaska a See also:hundred years after, without reference to the source from which it was obtained, finds no corroboration from French See also:sources . Had the French really made any substantial improvement in the hunting-horn at the end of the 17th century, transforming it from the primitive instrument into an orchestral instrument, it would only be reasonable to expect to find some evidence of this, considering the importance attached to the art of music at the See also:court of Louis XIV., whose musical establishments, la Chapelle Musique,? la Musique de la Chambre du Roi and la Musique de la Grande Ecurie, included the most brilliant French artists . One would expect to find horns of that period by French makers among the relics of musical instruments in the museums of Europe .
This does not seem to be the case
.
Moreover, in See also:Diderot and d'See also:Alembert's Encyclopedia (1767) the See also:information given under the heading trompe ou cor de chasse See also:grand et See also:petit is very vague, and contains no hint of any special merit due to France for any improvement in construction
.
Among the plates (vol. v., pl. vii.) is given an illustration of a horn very similar to the instruments made in England and Germany nearly a century earlier, but with a funnel-shaped mouthpiece
.
Dr Julius Ruhlmann states that there are two horns by See also:Raoux, bearing the date 1703,10 in the Bavarian See also:National Museum in Munich," but although fine examples, one in See also:silver, the other in brass (fig
.
6) by Raoux, they turn out on inquiry 12 to See also:bear no date whatever
.
RUhlmann's statement in the same article, that in the arms of the family of Wartenberg-Kolb (now See also:extinct), which goes back to 1169, there is a hunting-horn coiled round in a complete circle is also misleading
.
The horn (a post-horn) did not appear in the arms of the family in question until 1699, when the first peer Casimir Johann Friedrich was created hereditary Post-See also:Master
.
The influence of such erroneous statements in the work of noted writers is far-reaching
.
Inquiries
at the department of National Archives in Paris concerning Raoux, the founder of the after-wards famous See also:firm of horn-makers whose model with pistons is used in the British military bands and at See also:Kneller See also: 105, a silver horn of the simplest form of construction in D, " Fait A . Paris par Raoux " for No . 1o6, a brass horn engraved with a See also:crown on an See also:ermine See also:mantle with the See also:initials C . A . (Carl From a Photo by K . Teutel . Albert), " Fait a Paris Fie . 7.—Early Raoux Horn (Munich). par Raoux, seul ordinaire du Roy, Place du Louvre." Both horns measure across the coils 56 cm. and across the bell 27i . They are practically the same as the cors de chasse now in use in French and Belgian military bands, the large diameter of the coil enabling the performer to carry it over his shoulder . The orchestral horn was given a narrower diameter in order to facilitate its being held in front of the performer in a convenient position for stopping the bell with the right hand . No . 107 in the same collection, a horn of German construction, bears the inscription" Macht See also:Jacob Schmid in Nurnberg " and the trademark " J .
S." with a See also:bird
.
A horn in Eb of French make, having fleur-de-lys stamped on the rim of the bell, and measuring only 15 in. across the coils to the exterior edge of the bell—therefore a very small horn—is preserved in the Grand Ducal Museum at See also:Darmstadt
?
A horn in F#$ (probably F in modern high pitch), having the rim ornamented as above and the inscription " Fait a Paris, Carlin, ordinaire du Roy," readily gives the harmonics from the 3rd to the 12th.6 The extreme width is 20 in.' Carlin, who lived at See also:rue Croix des Petits Champs, died about 1780
.
The earliest dated horn extant is believed to be the one preserved in the See also:Hohenzollern Museum in See also:Sigmaringen, " Machts Wilhelm Haas, Nurnberg, 1688." 6 Another early German horn engraved " Machts Heinr
.
Rich
.
See also:Pfeiffer in Leipzig, 1697," 6 formerly in See also:Paul de Wit's museum in Leipzig and now transferred with the See also:rest of the collection to See also:Cologne, is of similar construction
.
The horn must have been well known at this time in England, for there are 17th-century horns of English manufacture still extant, one, for instance, in the collection of the Rev
.
F
.
W
.
Galpin by See also: Enough examples have been quoted to show that, judging from the specimens extant, Germany was not behind France, if not actually ahead, in the manufacture of early natural horns . Data are wanting concerning the instruments of Italy; See Musee du Conservatoire National de Musique . Catalogue des instruments de musique (Paris, 1884), p . 147 . See See also:Captain C . R . Day, Descriptive Catalogue of the Musical Instruments exhibited at the Military See also:Exhibition (London, 1890), P . 147, No . 307 . See V . Mahillon, Catal. vol. i . No . 468 . See Captain C . R . Day, Catal . No . 309, p . 148 . For an illustration see Catalogue of the Special Exhibition of .4n( See also:tent Musical Instruments at .South Kensington Museum 1872 ^London, 1873), P . 25, No . 3332 . 6 See Katalog des musikhsstorischen Museums von Paul de IVit (Leipzig, 1yo4), p . 142, No . 564, where it is classified as a Jagertrompete alter Praetorius; it has a trumpet mouthpiece . For an illustration see F . J . Crowest . English Music, p.449, No . 12 . 'See Ignatz and Anton Bock in Baierisches Musik-Lexikon by Febx J . Lipowski (Munich, i8i1), p . 26, note.they would probably prove to be the earliest of all, and as brass wind instruments are perishable are perhaps for that very reason unrepresented at the present day . The horn at the present See also:stage in its evolution was also well represented among the illustrations of the musical literature in Germany 9 during the first half of the 18th century, and references to it are frequent . The earliest orchestral music for the horn occurs in the operas of See also:Cavalli and See also:Cesti, leaders of the Venetian See also:Opera in the 17th century . Already in 1639 Cavalli in his opera Le Nozze See also:musk. de Tito e Pelei (See also:act i. sc . 1) introduced a short scena, Chiamata alla Caccia " 16 in C major for four horns on a basso continuo . An examination of the scoring in C clefs on the first, second, third and See also:fourth lines shows, by the use of the note hl= — in the bass part and in the second See also:tenor of the 5th harmonic of the series, that the funda- - is-- See also:mental could have been no other than the r6-ft . C; the highest note in the See also:treble part is the 12th harmonic of the 8-ft. alto horn in C, now obsolete . It is clear therefore that horns with tubing respectively 8 ft. and 16 ft. long, which must have been disposed in coils as in the present day, were in use in Italy before the middle of the 17th century, fifty years before the date of their reputed invention in Paris . In the same opera, act i. sc . 4, " See also:Coro di Cavalieri " is a stirring call to arms of elemental grandeur, in which occur the words: " all' armi, o la guerrieri corni e tamburi e trombe, ogni campo ogni See also:canto, armi rimbombe." There are above the voice parts four staves with treble and C clef signatures above the bass, and, al-though no instruments are indicated, the music written thereon, which alternates with the voices but does not accompany them, can have been intended for no instruments but trumpets and horns, thus carrying out the indications in the text . The horn is here once again put to the same use as the Roman cornu, and associated in like manner with the descendant of the buccina in a call to arms . It may be purely a coincidence that the early illustration of a horn with the tubing wound in coils round the body in the Strassburg Virgil mentioned above was put to the same use and associated with the same instrument . Cesti's operas likewise contain many passages evidentl intended for the horn, although the instruments are not specified in the See also:score, which was nothing unusual at the time . Lulli composed the incidental music for a See also:ballet, La Princesse d'Elide, which formed part of See also:Moliere's divertissement, " Les plaisirs de rile enchantee," written for a great festival at See also:Versailles on the 7th of May 1664 . A copy of the music for this ballet, made about 168o, is preserved in the library of the See also:Fitzwilliam Museum, See also:Cambridge . The music contains a piece entitled " Les violons et les cors de chasse," written in the same See also:style as Cavalli's scena; there are but two staves, and on both the music is characteristic of the horn, with which the violins would play in unison . The piece finishes on Bb _--and to play this note as the second of the harmonic series, the fundamental not being obtainable, the tube of the horn must have been over 17 ft. long . Among Philidpr's copies of Lulli's ballets preserved in the library of the Paris Conservatoire of Music (vol. xlvii., p . 61) is a more complete copy of the above . The second number is an " Air des valets de chiens at des chasseurs avec les cors de chasse," which is substantially the same as the one in the Fitzwilliam Museum, but set for five horns in Bb . Here again the use of D, the fifth note of the harmonic series, indicates that the fundamental was a tone lower than the C horn b . scored for by Cavalli, and known as Bb basso . Victor Mahillon 11 considers that the music reveals the fact that it was written for horns in Bb, 35 degrees (chromatic semitones) above 32-ft . C, or having a wave-length of 1.475 M . To this statement -~~ --- it is not possible to subscribe . The quintette required four horns in Bb over 8 ft. long and one Bb basso about 17 ft. long . It is obvious that the present See also:custom of placing the bass notes of the horn on the 9 See, for instance, frontispiece of See also:Walther's Musikalisches Lexikon (Leipzig, 1732) ; J . F . B . C . Nlajer's Musik-Saal (Nuremberg, 1741, 2nd ed.), p . 54; Joh . See also:Christ . Kolb, See also:Pinacotheca Davidica (See also:Augsburg, 1711) ; Ps. xci . ; Componimenti Musicali peril cembalo Dr Theofilo Muffat, organista di sua Sacra Maesta Carlo VI . See also:Imp." (1690), See also:title-See also:page in Deukmaler d . Tonkunst in Oesterreich, Bd. iii . 10 See See also:Hugo See also:Goldschmidt, Das Orchester der italienischen Oper im 17 Jahrhundcrt," Intern . Mus . Ges., Sntbd. ii . 1, p . 73 . " See " Le Cor," pp . 23 and 24, and Dictionnaire de l'acad. des See also:beaux arts, vol. iv., art . Cor." F clef an octave too low, as is now customary, had not yet been adopted, for in that case the bass horn would in several bars be playing above the tenor . In 1647 See also:Cardinal See also:Mazarin, wishing to create in France a taste for See also:Italian opera, had procured from Italy an orchestra, singers and See also:mise-en-scene . That he was not entirely successful in making Paris appreciate Italian music is beside the mark; he developed instead a demand for French opera, to which Lulli proved equal . The great similarity in the style of the horn scene by Cavalli and Lulli may perhaps provide a See also:clue to the mysterious and sudden apparition of the natural horn in France, where nothing was known of the hybrid instrument See also:thirty years before, when Mersenne' wrote his careful treatise on musical instruments . The orchestral horn had been introduced from Italy . It is not difficult to understand how the horn came to be called the French horn in England; the term only appears after Gerber and other writers had repeated the story of Count Sporken introducing the musical horn into Bohemia.' By this time the firm of Raoux, established in Paris a hundred years, had won for itself full recognition of its high standard of workmanship in the making of horns . This use of the horn by Lulli in the one ballet seems to be an isolated instance; no other has yet been quoted . The introduction of the natural horn into the orchestra of the French opera did not occur until much later in 1735 in See also:Andre Campra's Achille et Deidamie, and then only in a fanfare . In the meantime the horn had already won a place in most of the rising opera houses and ducal orchestras' of Germany, and had been introduced by See also:Handel into the orchestra in London in his See also:Water-music composed in honour of George I . Although the Italians were undoubtedly the first to introduce the horn into the orchestra, it figured at first only as the characteristic instrument of the See also:chase, suggesting and accompanying hunting scenes or calls to arms . For a more independent use of the horn in the orchestra we must turn to Germany . Reinhard Keiser, the founder of German opera, at the end of the 17th century in See also:Hamburg, introduced two horns in C into the opening See also:chorus of his opera Octavio in 1705, where the horns are added to the See also:string quartette and the oboes; they play again in act i. sc . 3, and in act ii. sc . 6 and 9 . The compass used by the composer for the horns in C alto is the following: -Ps r: =ter—r 4 5 6 8 9 10 11 12 13 14 16 Wilhelm Kleefeld draws attention to the characterization, which differed in the three acts . In Henrico (1711), in See also:Diana (1712) and in L'Inganno Fedele (1714) F horns were used . This called forth from Mattheson° his much-quoted eulogium, the earliest description of the orchestral horn: " Die lieblich pompeusen Waldhorner See also:sind bei itziger Zeit sehr en See also:vogue kommen, weil sie theils nicht so See also:rude von Natur sind als die Trompeten, teils See also:auch well sie mit mehr Facilite konnen tractiret See also:werden . Die brauchbarsten haben F and mit den Trompeten aus dem C See also:gleichen Ambitum . Sie klingen auch dicker and fallen besser aus als die iibertaubende and schreyende Clarinen, weil sie See also:urn eine ganze quinte tiefer stehen." See also:Lotti in his See also:Glove in Argo, given in See also:Dresden, 1717, scored for two horns in C, writing for them See also:soli in the See also:aria for tenors (act iii. sc . 1) . Examples of C . H . See also:Graun's6 scoring for horns in F and G respectively in Polydorus (17Q8-1729) and inIphigenia (1731). show the complete emancipation of the instrument from its See also:original limitations; it serves not only as See also:melody instrument but also to enrich the See also:harmony and emphasize the rhythm . A comparison of the early scores of Cavalli and Lulli with those of Handel's Wasserfahrtmusik7 (1717) and of Radamisto, performed in London in 1720, Mersenne's drawings of tors de chasse are very crude; they have no bell and are all of the large calibre suggestive of the primitive animal horn . He mentions nevertheless that they were not only used for signals and fanfares but also for little concerted pieces in four parts for horns alone, or with oboes, at the conclusion of the See also:hunt . 2 See William Tans'ur See also:Senior, The Elements of Musick (London, 1772); Br . V . See also:Dictionary under " Horn." Also Scale of Horn in the hand of See also:Samuel See also:Wesley; in Add . MS . 35011, fol . 166, Brit . Mus . A horn-player, Johann Theodor Zeddelmayer, was engaged in 1706 at the Saxon court at See also:Weissenfels; see Neue-Mitteilungen aus dem Gebiete histor. antiqu . Forschungen, Bd. xv . (2) (See also:Halle, 1882), p . 503; also Wilhelm Kleefeld, " Das Orchester der See also:Ham-See also:burger Oper, 1678-1738," Intern . Mus . Ges., Smbd. i . 2, p . 280, where the See also:appearance of the horn in the orchestras of Germany is traced . Das neu-eroffnete Orchester, i . 267 . 5 Sec See also:Moritz Ffirstenau, Zur Geschichte der Musik and des Theaters su Dresden (Dresden, 1861-1862), vol. ii. p . 6o . 6 See " Carl Heinrich Gratin als Opernkomponist," by Albert See also:Mayer-See also:Reinach, Intern' Mus . Ges., Smbd. i . 3 (Leipzig, 1900), pp . 516-517 and 523-524, where musical examples are given . Cf . Chrysander, Haendel, ii . 146.shows the rapid progress made by the horn, even at a time when its technique was still necessarily imperfect . While See also:Bach was conductor of the See also:prince of See also:Anhalt-See also:Cothen's orchestra (1717-1723), it is probable that horns in several keys were used . In Dresden two Bohemian horn-players, Johann See also:Adalbert See also:Fischer and Franz See also:Adam Samm, were added to the court orchestra in 1711.8 In See also:Vienna the addition is stated to have taken place in 1712 at the opera.' It is probable that as in Paris so in Vienna there were solitary instances in which the horn was heard in opera without attracting the attention of musicians long before 1712, for instance in Cesti's Il Porno d'Oro, printed in Vienna in 1667 and 1668 and performed for the See also:wedding ceremonies of Kaiser See also:Leopold. and Margareta, infanta of See also:Spain . A horn in E (former F pitch) in the museum of the Brussels conservatoire bears the inscription " Machts Michael Leicham See also:Schneider in Wien, 1713."n Ftirstenau" gives a further list of operas in Vienna during the first two decades of the 18th century . It will be well before the next stage in the evolution is approached to consider the compass of the natural horn . The pedal octave from the fundamental to the 2nd harmonic was altogether wanting; the next octave contained only the 2nd and 3rd harmonics or the octave and its fifth; in the third octave, the 8ve, its major 3rd, 5th and minor 7th; in the fourth octave, a diatonic scale with a few accidentals was possible . It will be seen that the compass was very limited on any individual horn, but by grouping horns in different keys, or by changing the crooks, command was gained by the composer over a larger number of open notes . An important period in the development of the horn has now been reached . Anton Joseph Hampel is generally credited' with the innovation of adapting the crooks to the middle of the body of the horn instead of near the mouthpiece, which greatly improved the quality of the notes obtained by means of the crooks . The crooks fitted into the two branches of U-shaped tubes, thus forming slides which acted as compensators . Hampers Inventionshorn, as it is called in Germany (Fr. cor harmonique), is said to date from 1753,13 the first instrument having been made for him by Johann See also:Werner, a brass instrument-maker of Dresden . The same invention is also attributed to Haltenhof of See also:Hanau." Others again mention Michael Wogel15 of Carlsruhe and Rastadt, probably confusing his adaptation of the Invention or Maschine, as the slide contrivance was called in Germany, to the trumpet in 1780 . The Inventions-horn, although embodying an important principle which has also found its application in all brass wind instruments with valves as a means of correcting defective intonation, did not add to the compass of the horn . At some date before 1762 it would seem that Hampel16 also discovered the principle on which hand-stopping is founded . By hand-stopping (Fr. sons bouches, Ger. gestopfte nine) is under-stood the practice of inserting the hand with See also:palm outstretched and 8 See Moritz Fi.irstenau, op. cit. ii . 58 . See See also:Ludwig von Kochel, Die kaiserliche Hofkappelle in Wien (Vienna, 1869), p . 80 .
10 See Victor Mahillon, Catalogue descriptif, vol. ii
.
No
.
116o, p
.
389
.
" Op. cit. ii
.
6o
.
12 The Department of State Archives for See also:Saxony in Dresden possesses no documents which can throw any light upon this point, but, through the See also:courtesy of the director, the following facts have been communicated
.
Two documents concerning Anton Joseph Hampel are extant: (1) An application by his son, Johann Michael Hampel, to the elector Friedrich August III. of Saxony, dated Dresden, See also:April 3, 1771, in which he prays that the post of his See also:father as horn-player in the court orchestra—in which he had already served as See also:deputy for his invalid father—may be awarded to him
.
(2) A See also:petition from the widow, Aloisia Ludevica Hampelin, to the elector, bearing the same date (April 3, 1771), wherein she announces the See also:death of her See also:husband on the 3oth of See also: 148 . '" See Dictionnaire de l'acad. des beaux arts, vol. iv . (Paris), article " Cor." 15 See Dr Gustav Schilling, Universal Lexikon der Tonkunst (Stuttgart, 1840), Bd. vi., " Trompete "; also Capt . C . R . Day, pp . 139 and 151, where the term Invention is quite misunderstood and misapplied . See Gottfried Weber in See also:Caecilia (See also:Mainz, 1835), Bd. xvii . 16 Gerber in the first edition of his Lexikon does not mention Hampel or See also:award him a See also:separate See also:biographical article; we may therefore conclude that he was not personally acquainted with him, although Hampel was still a member of the electoral orchestra in Dresden during Gerber's short career in Leipzig . In the edition of 1812 Gerber renders him full See also:justice . fingers See also:drawn together, forming a long, shallow cup, into the bell of the horn; the effect is similar to that produced in wood wind instruments, termed d'amore, by the See also:pear-shaped bell with a narrow opening, i.e. a veiled mysterious quality, and, according to the arrangement of the hand and fingers (which cannot be taught theoretically, being inter-dependent on other acoustic conditions), a drop in pitch which enables the performer merely to correct the faulty intonation of difficult harmonics or to lower the pitch exactly a semitone or even a full tone by inserting the hand well up the bore of the bell . J . Frohlich' gives drawings of the two principal positions of the hand in the horn . The same phenomenon may be observed in the See also:flute by closing all the holes, so that the fundamental note of the pipe speaks, and then gradually bringing the palm of the hand nearer the open end of the flute . As a probable explanation may be offered the following See also:suggestion . The partial closing of the opening of the bell removes the boundary of ambient air, which determines the ventral segment of the half wave-length some distance beyond the normal length; this boundary always lies beyond the end of the tube, thus accounting for the discrepancy between the theoretical length of the air-column and the practical length actually given to the tube.' Hampel is also said to have been the first to apply the sordini 2 (Fr. sourdine) or See also:mute, already in use in the 17th century for the trumpet,' to the horn . The original mute did not affect the pitch of the instrument, but only the tone, and when properly constructed may he used with the valve horn to produce the mysterious veiled quality of the hand-stopped notes . No satisfactory scientific explanation of the modifications in the pitch effected by the partial obstruction of the bell, whether by the hand or by means of certain See also:mechanical devices, has as yet been offered . D . J . Blaikley suggests that in cases when the effect of hand-stopping appears to be to raise the pitch of the notes of the harmonic series, the real result of any contraction of the bell mouth (as by the insertion of the hand) is always a flattening of pitch accompanied by the introduction of a distorted or inharmonic scale, of such a character that for instance, the c, d, e, or 8th, 9th and loth notes of the original harmonic scale become not the c$# d# e of a fundamental raised a semitone, but Db, E', and f due to the 9th, loth and 11th notes of a disturbed or distorted scale having a fundamental lower than that of the normal horn . With regard to the See also:discovery of this method of obtaining a chromatic compass for the horn, which rendered the instrument very popular with composers, instrumentalists and the public, and Following for it a generally accredited position in the orchestra, the following is the sum of evidence at present available . In the Kgl. offentliche Bibliothek, Dresden, is preserved, amongst the musical MSS., an autograph See also:volume of 152 pages, entitled See also:Lection See also:pro Cornui, bearing the See also:signature A . J . H[ampel], the name being filled in in See also:pencil by a different hand . There is no introduction, no letter-press of any description belonging to the MS. method for the horn, nor is any book or pamphlet explaining the Inventionshorn or the method of hand-stopping by Hampel extant or known to have existed . He has apparently left no See also:record of his accomplishment . A few typical extracts copied and selected from the original MS., courteously communicated by the director of the Royal Library, 1-Iofrath, P . E . See also:Richter (a practical musician and performer on horn and trumpet), do not prove conclusively that they were intended to be played on hand-stopped horns, with the exception, perhaps, -- i 1'I I ! 1 I p . 133, No . 21 . p . 133, No . 22 . of the A, 13th harmonic from C, which could not easily be obtained except by hand-stopping on the hand-horn . On the See also:blank See also:sheet preceding the exercises is an inscription in the hand of Moritz Furstenau, former custodian of the Royal Private Musical Collection (incorporated with the public library in 1896): "Anton Joseph Hampel, by whom these exercises for the horn were written, was a celebrated horn-player, a member of the Orchestra of the Electoral Prince of Saxony . He invented the so-called Inventionshorn . Cf . Neues biog.-hist . Lexicon der Tonkunstler by Gerber, pt. i. See also:col . 493; also Zur Gesch. des Musik u. des Theaters am Hofe zu Dresden, by M . Furstenau, Bd. ii." It will be seen that Furstenau gives Gerber as his authority for the attribution of the invention to Hampel, although he searched the archives, to which he had free See also:access, for material for his book . ' Vollstandige theoretisch-praktische Musikschule (Bonn, 1811), pt. iii. p . 7 . 2 See Victor Mahillon, " Le Cor," p . 28; Chladni, op. cit. p . 87 . 2 See Frohlich, op. cit . 7; and Gerber, Lexikon (ed . 1812), p . 493; " Le Cor," pp . 34 and 53 . ' See Praetorius and Mersenne, op. cit.;, the latter gives an illustration of the trumpet mute . |
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