Wolfgang Tomboeck, Genia Kühmeier, Madoka Inui, Johannes Tomboeck - The Art of the Vienna Horn (2004)
BAND/ARTIST: Wolfgang Tomboeck, Genia Kühmeier, Madoka Inui, Johannes Tomboeck
- Title: The Art of the Vienna Horn
- Year Of Release: 2004
- Label: Naxos
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 01:00:46
- Total Size: 210 mb
- WebSite: Album Preview
Tracklist
01. Sonata in F major for Horn and Piano, Op. 17: I. Allegro moderato
02. Sonata in F major for Horn and Piano, Op. 17: II. Poco adagio, quasi andante
03. Sonata in F major for Horn and Piano, Op. 17; III. Rondo: Allegro moderato
04. Auf dem Strom, D. 943 (Op. posth. 119)
05. Adagio and Allegro in A flat major for Horn and Piano, Op. 70: I. Adagio
06. Adagio and Allegro in A flat major for Horn and Piano, Op. 70: II. Allegro
07. Trio in E flat major for Piano, Violin and Horn, Op. 40: I. Andante
08. Trio in E flat major for Piano Violin, and Horn, Op. 40: II. Scherzo: Allegro
09. Trio in E flat major for Piano, Violin, and Horn, Op. 40: III. Adagio mesto
10. Trio in E flat major for Piano, Violin and Horn, Op. 40: IV. Finale: Allegro con brio
When for the first time a primitive man beat with a stone on a tree-trunk to communicate with people at a distance, a musical instrument was created. Next came the horn, and as its name suggests, it was a long way away from the modern copper and brass alloy. A bull’s horn (as Wagner prescribes in The Twilight of the Gods), a bone, a reed or a shell, put to the lips, gives out a note. That was the origin of all wind instruments. The strength of the stream of air and the varied placing and tension of the lips produced different notes. That is how the horn still works.
The oldest surviving horns are spiral horns from Assyria, like those still in use today in Papua-New Guinea. The old Jewish shofar (from the horn of a ram) brought down the walls of Jericho. The Etruscans in BC 450 made signal-horns from terra cotta that have the semicircular form of those now in use. Since the bronze age men have made horns from metal, following the model of mammoths’ tusks. The oliphant (after the tusks of the elephant) came to Europe from Byzantium and was a sign of nobility.
Medieval cities found a use for the horn for nightwatchmen, huntsmen and postilions. When hunting-horns started to be adapted as signal horns, the horn came into existence as a musical instrument. The parforce hunting-horn, invented by the court composer of Louis XIV, was still used by Rossini.
An important step towards the modern horn, the first so-called natural horn, without valves and originally only playing the notes of the harmonic series, but further developed in structure, appeared in Germany about 1700. The tube was widened, the end strongly conical, the bell enlarged. Through change of the so-called crook immediately under the mouthpiece it could play different keys. Towards the end of the eighteenth century it became an indispensable orchestral instrument that provided a background of sound. The Dresden orchestral player Anton Hampel made the discovery of hand-stopping. By introducing the hand into the bell of the instrument notes other than those of the harmonic series could be played. Mozart and Beethoven wrote for natural horns.
On 12th April 1818 the Royal Prussian Patent Office confirmed the submission of the unknown provincial horn-players Heinrich Stölzel and Friedrich Blühmel. They had invented valves and this opened to horn-players all keys and the whole range of chromatic notes. In Beethoven’s Ninth Symphony natural and valve horns are prescribed; both of the first are natural horns, the fourth is a valve horn, and so the solo in the slow movement, a G flat - D major scale that was not possible with the natural horn, is conventionally allotted to the fourth horn. I presume that Beethoven, who was progressive in his attitude, wanted in this way to promote the valve horn and teach the traditionalists in the orchestra something. The F horn or Vienna horn, of which later there will be much to say, is a valve horn. As its name implies, today it is almost only played in Vienna. In the meantime, however, the so-called double horn has prevailed throughout the rest of the world. This brings together two horns, the Vienna F horn and for higher notes the B flat horn, in one instrument. One can be switched to the other by the thumb. Yet, as in the case of Asterix, there is a village that resists musical globalisation, and that village is a metropolis called Vienna...
01. Sonata in F major for Horn and Piano, Op. 17: I. Allegro moderato
02. Sonata in F major for Horn and Piano, Op. 17: II. Poco adagio, quasi andante
03. Sonata in F major for Horn and Piano, Op. 17; III. Rondo: Allegro moderato
04. Auf dem Strom, D. 943 (Op. posth. 119)
05. Adagio and Allegro in A flat major for Horn and Piano, Op. 70: I. Adagio
06. Adagio and Allegro in A flat major for Horn and Piano, Op. 70: II. Allegro
07. Trio in E flat major for Piano, Violin and Horn, Op. 40: I. Andante
08. Trio in E flat major for Piano Violin, and Horn, Op. 40: II. Scherzo: Allegro
09. Trio in E flat major for Piano, Violin, and Horn, Op. 40: III. Adagio mesto
10. Trio in E flat major for Piano, Violin and Horn, Op. 40: IV. Finale: Allegro con brio
When for the first time a primitive man beat with a stone on a tree-trunk to communicate with people at a distance, a musical instrument was created. Next came the horn, and as its name suggests, it was a long way away from the modern copper and brass alloy. A bull’s horn (as Wagner prescribes in The Twilight of the Gods), a bone, a reed or a shell, put to the lips, gives out a note. That was the origin of all wind instruments. The strength of the stream of air and the varied placing and tension of the lips produced different notes. That is how the horn still works.
The oldest surviving horns are spiral horns from Assyria, like those still in use today in Papua-New Guinea. The old Jewish shofar (from the horn of a ram) brought down the walls of Jericho. The Etruscans in BC 450 made signal-horns from terra cotta that have the semicircular form of those now in use. Since the bronze age men have made horns from metal, following the model of mammoths’ tusks. The oliphant (after the tusks of the elephant) came to Europe from Byzantium and was a sign of nobility.
Medieval cities found a use for the horn for nightwatchmen, huntsmen and postilions. When hunting-horns started to be adapted as signal horns, the horn came into existence as a musical instrument. The parforce hunting-horn, invented by the court composer of Louis XIV, was still used by Rossini.
An important step towards the modern horn, the first so-called natural horn, without valves and originally only playing the notes of the harmonic series, but further developed in structure, appeared in Germany about 1700. The tube was widened, the end strongly conical, the bell enlarged. Through change of the so-called crook immediately under the mouthpiece it could play different keys. Towards the end of the eighteenth century it became an indispensable orchestral instrument that provided a background of sound. The Dresden orchestral player Anton Hampel made the discovery of hand-stopping. By introducing the hand into the bell of the instrument notes other than those of the harmonic series could be played. Mozart and Beethoven wrote for natural horns.
On 12th April 1818 the Royal Prussian Patent Office confirmed the submission of the unknown provincial horn-players Heinrich Stölzel and Friedrich Blühmel. They had invented valves and this opened to horn-players all keys and the whole range of chromatic notes. In Beethoven’s Ninth Symphony natural and valve horns are prescribed; both of the first are natural horns, the fourth is a valve horn, and so the solo in the slow movement, a G flat - D major scale that was not possible with the natural horn, is conventionally allotted to the fourth horn. I presume that Beethoven, who was progressive in his attitude, wanted in this way to promote the valve horn and teach the traditionalists in the orchestra something. The F horn or Vienna horn, of which later there will be much to say, is a valve horn. As its name implies, today it is almost only played in Vienna. In the meantime, however, the so-called double horn has prevailed throughout the rest of the world. This brings together two horns, the Vienna F horn and for higher notes the B flat horn, in one instrument. One can be switched to the other by the thumb. Yet, as in the case of Asterix, there is a village that resists musical globalisation, and that village is a metropolis called Vienna...
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