The horn and horn-playing and the Austro-Bohemian tradition from 1680 to 1830:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York ; Toronto
Oxford University Press
1970
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XIII, 256 Seiten 1 Schallplatte (18 cm, 33 1/3 UpM, stereo) |
| ISBN: | 0193187035 |
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| 245 | 1 | 0 | |a The horn and horn-playing and the Austro-Bohemian tradition from 1680 to 1830 |c Horace Fitzpatrick |
| 264 | 1 | |a London ; New York ; Toronto |b Oxford University Press |c 1970 | |
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Datensatz im Suchindex
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| adam_text | CONTENTS
PREFACE v
INTRODUCTION. THE BEGINNINGS : ROMAN
ANTIQUITY TO FRANCE IN 1680 1
I THE COR-DE-CHASSE AND ITS
TRANSPLANTATION TO BOHEMIA
The Bohemian background 9
Sporck and the introduction of the cor-de-chasse into Bohemia 11
The Parforcejagd and the affective connotations of the hörn 16
Sporck and the use of the hörn as an orchestral instrument 21
II THE DEVELOPMENT OF THE VIENNESE HÖRN
TO 1750
The Leichnambschneider brothers 26
The Waldhorn and the cor-de-chasse compared 28
The development of the Waldhorn 30
The character of the Waldhorn 3 5
Horn-makers in Germany, England, and Italy 44
III THE GROWTH OF THE BOHEMIAN SCHOOL
TO 1770: SOME MUSICAL LANDMARKS
The first orchestral horn-players 50
Vienna and Naples 59
The Baroque style matures 65
Handel and horn-players in England 68
Bach s later hörn parts and players 77
The years of transition, 1740-1770: some leading players 79
The technique of the high-horn players 82
Hampl and hand-stopping 84
IV REGISTER OF PLAYERS. 1. FIRST AND SECOND
GENERATIONS
Generation I: Working period 1680-1725 91
Generation II: Working period c. 1720-c. 1760 100
V THE HAND-HORN IN VIENNA AND PRAGUE,
1755-1830
Changing concepts of instrumental sound 125
Johann Werner and the Inventionshorn 126
Some leading Viennese hand-horn makers and their contributions 131
The Orchesterhorn 139
Makers at Prague and in the Bohemian province 144
Viennese influence in the provinces 148
x CONTENTS
VI THE MOUTHPIECE AND ITS ROLE IN THE
BAROQUE AND CLASSICAL PHASES
Some previous authorities views 150
The function and basic features of the mouthpiece 152
The Baroque type, c. 1700-1760 156
The hand-horn type, c. 1755-1830 159
VII HAND-HORN PLAYING FLOURISHES AND
DECLINES, 1770-1830
Some prominent soloists 163
The leading duettists 176
The virtuoso hand-horn style: some notes on technique 178
The hand-horn in the orchestra 183
Some derivative national schools of horn-playing 189
Decline of the Austro-Bohenüan school: musical and political causes 191
VIII REGISTER OF PLAYERS. 2. THIRD AND
FOURTH GENERATIONS
Generation HI: Working period c. 1750-1800 J95
Generation IV: Working period c. 1795-1830 213
CONCLUSION. THE NATURAL HÖRN TODAY 217
APPENDIX. GERBER S ARTICLE ON THE HÖRN, 1789 219
GLOSSARY 227
BIBLIOGRAPHY 232
INDEX OF MUSIC 240
INDEX OF NAMES 242
GENERAL INDEX 251
PLATES
Frontispiece. Franz Anton, Count Sporck, at the age of 73. Lissa, his favourite country
palace, provides a backdrop for a group of mounted horn-players.
Pacing page
I The mounted hunt at Versailles, from a series of paintings now at Fontaine-
bleaii. Dating from the early years of the eighteenth Century, they show
the cor-de-chasse in the fully-evolved form of the late seventeenth. An
impression of the mounted playing position may be gained from (a), as
well as a good view of the instrument in profile. The shape of the bell and
mouthpiece can be seen in (b). (Conservateur du Musee du Chattau, Fontaine-
bleau) 18
II (a) Rewarding the hounds, From Johann Elias Ridinger s Der Fürsten Jagd-
Lust (Augsburg, 1729). Here we see the more robust outlines of the
Austrian hörn, played in various individual versions of the correct stand-
ing position. It should be noted that none of these horns is held vertically. 19
II (b) Mounted huntsman with pack (the latter not shown), from Ridinger s
Jäger und Falkoniers (1728). The wider bore of the Austrian instrument is
noticeable here, and the mouthpiece is distinctly more steeply conical than
inPlatel(b). 19
HI (a) Cor-de-chasse by Cretien, Paris, c. 1720. (IV. F. H. Blandford and Eric Half-
petmy) 34
HI (b) Parforce-Jagdhorn, Johann Grinwolt, Prague, 1735. (National Museum,
Pragui) 34
IV (a) Orchestral Waldhorn with inlet for terminal crooks by Michael Leich-
nambschneider, 1721. Probably one of Johannes Thürrschmidt s instru-
ments. {Dr. Folcker von Volckamtr, Schloss Harburg} 3 5
IV (b) Parforce-Jagdhorn in F, Johannes Leichnambschneider, Vienna 1710.
The earliest Viennese hörn known to survive (Kunsthistoriscbes Museum,
Vienna) 35
V Parforce-Jagdhorn in E, Michael Leichnambschneider, Vienna, 1718. (Histori¬
sches Museum, Basel) 66
VI A Boar Hunt, from a series ofhunting prints by Michael Heinrich Renz, 1728.
The upward-pointing position of the hörn is clearly dictated by the tri¬
angulär compositdon of the central group. Renz received many commis-
sions from Sporck; the horn-player might well be Sweda or Rölig. 67
Vn (a) The horns and continuo department of the Imperial Opera Orchestra at
Vienna in 1758. Detail from a Canaletto engraving of a dress rehearsal for
the ballet he Türe Ginireux. Instruments of the old fixed-mouthpipe model
are shown being played left- and right-handed. 82
Vn (b) A musical Sunday afternoon at Dr. Burney s house in 1782. Burney him-
selfis seen in the right foreground; Fischer, the celebrated oboist, is Stand¬
ing behind the harpsichord. The horn-player is Monsieur Pieltain, a pupil
of Punto, The satirical nature of Loraine Smith s drawing appears to have
suggested the playing position of the hörn. (The Trustees of tht British
Museum) 82
xii PLATES
Vm Detail of a gold-ground Silhouette of c. 1785 showing the wind-players of the
Wallerstein court orchestra. The horns are Josef Nagel and Franz Zwier-
zina. 83
IX (a) Inventionshorn by C. Lobeit, Prague(?), c. 1785. The later type with
fixed mouthpipe. (Boston Museum)
IX (b) Parforce-Jagdhorn, Anton Kerner, Vienna 1777. (National Museum, Prague)
X (a) The corpus of an early orchestral Waldhorn by Joseph Huschauer the
eider, Vienna, 1723. One of the earliest known sets of Vienna valves of c.
1820 has been added. (National Museum, Prague)
X (b) An anonymous Inventionshorn with terminal crook, c. 1760. (National
Museum, Prague)
XI (a) Orchesterhorn by Nicodemus Pechert, Markt Gaunersdorf, c. 1785.
(Kuntsbistoriscbes Museum, Vienna)
XI (b) Orchesterhorn, Nicodemus Pechert, Vienna, c. 1795.
Xu (a) Orchesterhorn, Leopold Uhlmann I, Vienna, c. 1810. The immediate fore-
runner of the Pumpenhorn. (Autbor s collection)
Xu (b) Pumpenhorn or Vienna hörn, Leopold Uhlmann II, c. 1875. Identical,
except for refinements of detail, to the model based on the hand-horn
shown above. It was laid down by the eider Uhlmann in about 1815 and
continues in use in Vienna today. (R. Morley-Pegge)
X1B (a) Orchestral Jagdhorn in E flat, Joseph Simon Anger, Graslitz, dated 1730.
(National Museum, Prague)
(b) Orchesterhorn with terminal crooks, Franz Stöhr, Prague, c. 1800.
(National Museum, Prague)
(c) Parforce-Jagdhorn in C basso, Prague, dated 1735. (National Museum,
Prague)
(d) One of a pair of anonymous Parforce-Jagdhörner in C basso of the type
oft. 1750. (National Museum, Prague)
XTV (a) Concert hörn. English c. 1760. The terminal crooks are for B flat alto and
G. A pair of small tuning bits appears to the left of the bell-rim. (Guy
Oldbam collection. Photo: John M. Hensball)
(b) Hörn on the early Viennese pattern, English, c. 1760. Probably by
Nicholas Winkings. Its complete set of master and coupler crooks and tun¬
ing bits are shown. (Photo: John M. Henshalf)
(c) Cor-solo by Lucien-Joseph Raoux, c. 1785. Crooks for D, E flat, and G
are shown separately. Many of the great virtuosi took up this model for
solo playing. (K. Morley-Pegge collection. Photo: Dr. P. D. Watson)
XV (a) and (b) Profile and end view of a copy of the mouthpiece associated with
the William Bull hörn of 1699. English, c. 1690-1710. Made by the author.
(c) and (d) Orchestral mouthpiece, brass, c. 1720. The wide rim allows the
trumpet-player to double on the hörn without disturbing bis embouchure.
Note the deep, straight-sided cup. Presumably Viennese.
(e) and (f) Soloist s mouthpiece of oxhorn, c. 1720. The rim has been cut
down from a width presumably approximating that of (c) and (d). The
cup is slightly narrower and the bore smaller. Oxhorn exerted a softening
influence upon the tone.
(g) Internal profiles of (left) the Viennese orchestral mouthpiece of c. 1720
and (right) a Viennese second-horn mouthpiece oft. 1770. These bees-wax
Castings show graphically the diflerence between the longer, narrow
Baroque type of cup and the shorter, wider cup of the hand-horn period.
The backbores are not shown.
PLATES xiii
(h) The Viennese second-horn mouthpiece of c. 1770, shown in profile and
end views. Note the narrow rim to facilitate the wide leaps characteristic
of second-horn parts at this period. The wide bore enhances the l°w notes.
(i) Side and end views of a first-horn mouthpiece, Prague, c. 1790. The
wider rim and narrower bore are typical of the high-horn player s mouth¬
piece. This example probably belonged to a soloist. It is well to remernber
that, then as now, there were as many individual mouthpieces as there
were players.
XVI (a) Giovanni Punto at the age of35-
(b) left to right: Side and end views of mouthpieces: (i) English, brass,
i8th Century, probably by Nicholas Winkings, whose initials are chased
on the body. (ii) English or French, brass with silver rim, I8th Century,
(iii) French, silver, late i8th Century, associated with a hand-horn by
Courtois Neveu l aine. (iv) Modern English, silver-plated brass, the
Aubrey Brain model. (v) Modern English silver-plated brass, showing
German influence in its convex-sided cup.
Plates IX-XVI will kfound betmeenfages 138 »nd 139.
|
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| spelling | Fitzpatrick, Horace aut The horn and horn-playing and the Austro-Bohemian tradition from 1680 to 1830 Horace Fitzpatrick London ; New York ; Toronto Oxford University Press 1970 XIII, 256 Seiten 1 Schallplatte (18 cm, 33 1/3 UpM, stereo) txt rdacontent n rdamedia nc rdacarrier Geschichte 1680-1830 gnd rswk-swf Hornspiel (DE-588)4160677-2 gnd rswk-swf Horn Musikinstrument (DE-588)4160662-0 gnd rswk-swf Hornspiel (DE-588)4160677-2 s Geschichte 1680-1830 z DE-604 Horn Musikinstrument (DE-588)4160662-0 s HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=001857029&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Fitzpatrick, Horace The horn and horn-playing and the Austro-Bohemian tradition from 1680 to 1830 Hornspiel (DE-588)4160677-2 gnd Horn Musikinstrument (DE-588)4160662-0 gnd |
| subject_GND | (DE-588)4160677-2 (DE-588)4160662-0 |
| title | The horn and horn-playing and the Austro-Bohemian tradition from 1680 to 1830 |
| title_auth | The horn and horn-playing and the Austro-Bohemian tradition from 1680 to 1830 |
| title_exact_search | The horn and horn-playing and the Austro-Bohemian tradition from 1680 to 1830 |
| title_full | The horn and horn-playing and the Austro-Bohemian tradition from 1680 to 1830 Horace Fitzpatrick |
| title_fullStr | The horn and horn-playing and the Austro-Bohemian tradition from 1680 to 1830 Horace Fitzpatrick |
| title_full_unstemmed | The horn and horn-playing and the Austro-Bohemian tradition from 1680 to 1830 Horace Fitzpatrick |
| title_short | The horn and horn-playing and the Austro-Bohemian tradition from 1680 to 1830 |
| title_sort | the horn and horn playing and the austro bohemian tradition from 1680 to 1830 |
| topic | Hornspiel (DE-588)4160677-2 gnd Horn Musikinstrument (DE-588)4160662-0 gnd |
| topic_facet | Hornspiel Horn Musikinstrument |
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