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Stiftung Kloster Michaelstein Musikinstitut für Aufführungspraxis 25th symposium on musical instrument building: The horn – its history and musical use Bradley Strauchen-Scherer The medieval Cistercian monastery Kloster Michaelstein, nestled in the gentle hills of the Harz, has been a center for intensive musical study since the establishment of the Musikinstitut für Aufführungspraxis devoted to the horn in its many forms and uses, from herald of the hunt to modern concert instrument. Three days devoted to all facets of horn design, history and use drew together a large body of delegates from across Europe and North America. The topics covered by the speakers were equally wide ranging and augured well for the quality and vigor of horn research and organological scholarship. The most inspiring papers were those that given for organology by Lawrence Libin in the , 2 nd ed. Social, political and economic history, performance practice, physics, acoustics, musical instrument making and iconography were some of the disciplines that informed the presentations. The symposium also provided the platform for a survey of horns in the museums of central Germany and lower Saxony. This session offered delegates a glimpse of the wide array of horns held in these collections and led to a heightened awareness of these important resources. The results of such instrument censuses are also valuable tools for museum curators to use in devising collaborative strategies about how to develop and steward the collections in their care. Please see the end of this article for a list of speakers and paper topics. The sound of the horn, in a series of superb performances, was integral focused on the rise and development of the horn as a musical instrument. Horn players Thomas Hiebert and Michel Garcin-Marrou joined forces with members of the Telemannischen Collegiums Michaelstein to perform repertoire from Germany, France and England. The German works, mostly drawn from the Dresden court library, underscored the importance of support for the horn in the Saxon court during the 18 th century. The performance of the Michel Corrette concerto offered a rare glimpse of the horn in chamber music in France during the 18th century. The Concerto in F major by the London-based horn player Mr. Charles gave evidence of a sophisticated and technically advanced horn playing presence in England during this period. The demanding clarino writing characteristic of much horn music during the 18th century was realised throughout the evening with great poise and control. The second concert was devoted to the nineteenth century, one of the most technologically and aesthetically interesting periods in the Seraphinoff, Gabriele Rocchetti horns and Silvia Bertoletti, fortepiano. Much of the repertoire featured was written during the nascent years of the valve, leaving composers and performers to decide if and how they would utilize the valve horn while maintaining the varied tonal palette of the hand horn that was so prized. The combination of hand and valve technique espoused by players such as Joseph Meifred elevated the function of stopped notes from technical necessity to that of deliberate Giulio Marco Bordogni according to the precepts of Meifred beautifully demonstrated the musicality of this hybrid technique. Listeners calls for two natural horns plus a two-valve horn for the lowest basse part. These performances revived a subtle and sophisticated aural landscape that is largely lost to the modern horn in the 21 st century, prompting one to think that Dauprat and Meifred might have known the best of both worlds. Entirely valve-free virtuosity was also much in evidence during the evening with suitably liberal and extroverted performances of compositions springing from the operatic and solo works by Guiseppe Devasini, Guiseppe Belloli and Vincenzo Merighi. Superb musicianship and technical command were demonstrated at both concerts, but they also underscored the exceptional versatility of the participants. All of the horn players also presented papers during the symposium and horns built by Rick Seraphinoff could be heard on both evenings. The wonderful solitude and peacefulness of the Kloster grounds were a perfect foil for this intense period of horn activity and participants also ments. The Cellarius restaurant and bar was a convivial gathering point where the excellent German beer fostered many conversations about horn playing and cemented the international fellowship of players and scholars devoted to the . A list of speakers and paper topics appears below. All of these papers will be published by Stiftung Kloster Michaelstein at the end of 2005. Copies can be purchased by contacting Uta Talke, Postfach 24, 38881 Blankenburg, Tel.: +49-(0)3944-903014, Fax: +49-(0)3944-903030, e- mail: u.talke@kloster-michaelstein.de or on the internet at http://www. kloster-michaelstein.de 38 | HISTORIC BRASS SOCIETY NEWSLETTER - WINTER 2005
LIST OF SPEAKERS & PAPER TITLES Christian Ahrens, Bochum (D) „2 Clarini o 2 Corni da Caccia“ – Zur Frage der Austauschbarkeit von Trompete und Horn in der Barockmusik Josep Antoni Alberola l Verdú, Valencia (E) The history of the horn in Spain in the 18th century Klaus Aringer, Tübingen (D) Hornpartien bei Georg Philipp Telemann Reine Dahlqvist, Göteborg (S) Das Horn in Norddeutschland Rainer Egger, Basel (CH) Die Mensuren von eng gewundenen Jagdinstrumenten in hohen Stimmungen Eszter Fontana, Leipzig (D) Über Hörner im Musikinstrumentenmuseum der Universität Leipzig Michaela Freemanova, Kamenny Privoz (CZ) Horn makers in Bohemia and Moravia in the 18th and early 19th century Michel Garcin-Marrou, Chennevières (F) The history of the horn in France in the late 17th and 18th century Florence Getreau, Paris (F) French iconography concerning the Horn in the 18th century Karl F. Hachenberg, Wissen (D) Der Werkstoff Messing im Blechblasinstrumentenbau vom 16. bis zum Ende des 18. Jahrhunderts Thomas Hiebert, Fresno (USA) The history of the horn in England in the 18 th century Sabine Klaus, Landrum (USA) Horn oder Trompete – ein Instrument von Johann Carl Kodisch, Nürnberg 1684 Klaus-Peter Koch, Bergisch-Gladbach (D) Deutsche Blechbläser und Blechblasinstrumentenbauer in ihrem Wirken im östlichen Europa Monika Lustig, Michaelstein / Christiane Rieche, Halle / Wolfgang Wenke, Eisenach (D) Jagd- und Waldhörner in niedersächsischen und mitteldeutschen Museen: Ergebnisse von Musikinstrumentenerfassungen Renato Meucci, Milano (I) Social and political perspectives in the early history of the horn Arnold Myers, Edinburgh (GB) The internal evolution of the french horn and the trompe Robert Pyle, Cambridge (USA) Acoustical comparison of typical French and German hand horns Gabriele Rocchetti, Lanato (I) Italian development of horn writing in the 18th century Richard Seraphinoff, Bloomington (USA) Historical Horn Making from the Perspective of a Player/Maker Jeffrey Snedeker, Ellesburg (USA) and Early Valved Horn Performance and Pedagogy in Nineteenth- Century France Bradley Strauchen, London (GB) The horn in England during the 19th and 1st half of the 20th century Enrico Weller, Markneukirchen (D) Die Familie Eschenbach und ihre Bedeutung für den vogtländischen und deutschen Metallblasinstrumentenbau Gregor Widholm, Wien (A) Das Wiener Horn – Bindeglied zwischen Naturhorn und modernem Doppelhorn HISTORIC BRASS SOCIETY NEWSLETTER - WINTER 2005 | 39
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18 News - Historic Brass Society

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