Horn Teaching at the Paris Conservatoire, 1792 to 1903
The Transition from Natural Horn to Valved Horn
- 260 pages
- English
- ePUB (mobile friendly)
- Available on iOS & Android
Horn Teaching at the Paris Conservatoire, 1792 to 1903
The Transition from Natural Horn to Valved Horn
About This Book
The transition from the valveless natural horn to the modern valved horn in 19th-century Paris was different from similar transitions in other countries. While valve technology was received happily by players of other members of the brass family, strong support for the natural horn, with its varied color palette and virtuoso performance traditions, slowed the reception and application of the valve to the horn.
Using primary sources including Conservatoire method books, accounts of performances and technological advances, and other evidence, this book tells the story of the transition from natural horn to valved horn at the Conservatoire, from 1792 to 1903, including close examination of horn teaching before the arrival of valved brass in Paris, the initial reception and application of this technology to the horn, the persistence of the natural horn, and the progression of acceptance, use, controversies, and eventual adoption of the valved instrument in the Parisian community and at the Conservatoire.
Active scholars, performers, and students interested in the horn, 19th-century brass instruments, teaching methods associated with the Conservatoire, and the intersection of technology and performing practice will find this book useful in its details and conclusions, including ramifications on historically-informed performance today.
Frequently asked questions
Information
1 Introduction
Overview of the problem
My dear Pegge,âŠThe valve-horn class had not been held since 1863, and it was I who asked M. Ambroise Thomas to allow me to hold one valve-horn class every week.I then got permission for the sight-reading test at the annual public examination to be played on the valve horn (for this the student fitted a detachable set of valves to his instrument in public), and finally both the set piece and the sight-reading test to be played on the valve horn, hand technique being retained for specifically hand-horn phrases. From then on (1897) the valve-horn class was virtually, if not officially, reinstated by me. Hand horn until 1896âhand and valve horn from 1897 to 1902âvalve horn since 1903âŠ1
Nowadays chromaticism is used much more often than in the past, which means that sudden modulations cannot always be executed by the horn. To do so they would have to change the crook, which again means that the orchestra has to do for a few bars without the horns, since replacing a crook on the instrument by another oneâof a different temperature and consequently too lowâtakes time. Some will say that there is always hand-stopping that allows a chromatic scale equal to any other instrument, but even so, if the modulation or the note to be sustained happens to be:the effect is as if the horns did not play at all. And that is where the valve horn comes in: it can play all these notes. But even with the valve horn, there will always be a moment when one is obliged to change the crook, because this system does not comprise the range of all the extra crooksâŠ2
So as to avoid polemics that are often only confusing, I endeavor to beg of you, dear Master, to gather a musical commission consisting of eminent composers, members of the Institute, to whom you could add some other famous composers.After having heard and analysed [sic] the instrument [i.e., the cornet] that I shall have the honor to submit to them, these composers would be fully qualified to ask you to introduce it officially into my class as well as other conservatories in the Province. The three years of success that you yourself have recognized, give me the hope that you will deign to give special interest to the instruction of this instrument by placing your complete trust in this system, as so far you have shown it to myself.The commission could at the same time discuss with you the reintegration of the valve horn into the Conservatoire. The class has been discontinued after the death of Meifred, leaving a vacancy that is to be regretted for the same reasons as mentioned above. Nothing would be simpler than to create a mixed class for simple horn and valve horn, led by the same teacher.It is up to you, dear Master, to give the signal of Progress by introducing into the Conservatoire the changes called for by the Modern School.3
The prejudice against valved horns is so well-rooted, that the most skillful artists disdain them. They have persuaded themselves that the sound of the valved horn is inferior to that of the natural horn; but if men of the talent of Messrs. Mohr, Paquis, and Baneux would avail themselves to study this instrument, they would soon have proof that their quality of sound would lose none of its purity. On top of that, it would suffer them to hear the four valved horns of the orchestra at the Brussels Conservatory to acquire the conviction that in no place does the horn have more brilliance and purity. Finally, anyone knows that it is not possible to have a true fourth horn without valves, because it is by their combinations that the instrument gains a complete low octave.5
This [valve] system offers advantages, especially for the second [i.e., low] horns, owing to the considerable gaps between their natural low notes which it fills up, beginning with the lowest C [c] and ascending; but the timbre of the valved horn differs a little from that of the natural horn; it cannot therefore replace it in every case. I believe it should be treated almost like a separate instrument, particularly fitted for giving good bass [parts], vibrant and energetic, yet not possessing so much force as the low sounds of the tenor trombone, to which its own bear much resemblance. It can also render a melody well, especially one principally of sounds in the middle [register]âŠ.Many composers show themselves opposed to this new instrument, because, since its introduction into orchestras, certain horn players, using the valves for playing ordinary [i.e., natural] horn parts, find it more convenient to produce by this mechanism as open notes, notes intentionally written as closed notes by the author. This is, in fact, a dangerous abuse; but it is for orchestral conductors to prevent its increase, and moreover, it should be clarified that the horn with valves, in the hands of a skillful player, can give all the closed sounds of the ordinary horn, and yet more, since it can execute the whole scale without employing a single open note. Since the use of the valves, by changing the key of the instrument, gains the open notes of other keys, in addition to those of the principal key, it is clear that it must also secure the closed notesâŠ. It is important for the composer to indicate, by the word âStoppedâ⊠the notes which he does not wish to be produced openâŠ6
Table of contents
- Cover
- Half Title
- Title Page
- Copyright Page
- Dedication
- Note on author
- Table of Contents
- Acknowledgments
- List of figures
- List of abbreviations
- 1 Introduction
- 2 Early horn tutors in France, the formation of the Conservatoire, and the Conservatoireâs first horn teachers
- 3 Valved brass instruments in Paris
- 4 Hand and valve: Joseph-Ămile Meifred, Jacques-François Gallay, and horn teaching at the Conservatoire 1833â1864
- 5 Other valved horn activity in Paris: two valves or three?
- 6 Late nineteenth-century developments at the Conservatoire
- 7 Applications to performing practices and hand and/or valve today
- Appendix 1: Foreign language quotations
- Appendix 2: Writings and compositions of Joseph-Ămile Meifred
- Appendix 3: The Mechanic (Le MĂ©canicien) by Joseph-Ămile Meifred
- Bibliography
- Index