In the 17th century, horns played a central role in aristocratic hunting and initially served as a means of communication between hunters and their retinues. Even at this time, crescent-shaped flugelhorns and circular hunting horns were in use, already resembling modern designs.[5] Musicians soon discovered the horn's distinctive sound, which blended well with other instruments, leading to its rapid appreciation as a musical instrument. In the 18th century, this gave rise to a new sound world, which, however, was later almost forgotten.
Significant improvements in horn construction were achieved in the 17th century. The instruments were designed to be easier to transport and to allow for different keys. Some horn players began to influence the timbre by placing their hand inside the bell. This playing technique, known as hand-stopping, eventually led to the development of the natural horn.
Carl Heinrich Graun began his career as a singer and later became famous as an opera composer. His Trio in D major exemplifies the refinement of horn playing. Other works on the album, such as the Concerto in D major for horn and oboe d'amore, also demonstrate the horn's versatility as a solo instrument.
Joseph Haydn's Divertimento a 3 presents horn players with challenging variations in different registers. Originally titled "Trio per il Corno da Caccia," this work was later renamed "Trio per il Corno da Caccia," but the hunting reference in the title was later removed. Mozart and other composers also made deliberate use of the horn in their compositions.
This collection of horn music from the 18th century showcases the instrument in a variety of musical contexts. The horn was not only used for hunting signals but also found its way into chamber music and solo works. It became increasingly associated with courtly music and concertos, as documented in historical works such as John Simpson's "Complete School for the French Horn."