Album insights
The hunting horn originated in the 17th century as a prop for a popular leisure activity among the nobility: hunting. Initially used to communicate events to the footmen behind the mounted hunters, it evolved from an outdoor tool to a musical instrument within a few decades. Through refinement, it found its place in chamber music compositions of the 18th century, showcasing a new tonal quality and offering a range of phrasing and articulation previously unheard of. Despite its signaling origins reflecting in short fanfares or rhythms, horn players soon achieved a harmonious blend with small string groups, harpsichord, and woodwinds, creating a rich sound and musical expression that captivated audiences of the time.
During the lifetimes of the composers featured, significant advancements were made in the construction and playing of the horn. The bell of the horn was designed to be angled away from the body, ensuring better sound projection during hunts. The horn was crafted as a detachable two-part instrument, facilitating different key configurations beyond hunting needs. Innovations like the "stopfing" technique, pioneered by hornists such as Anton Joseph Hampel in Dresden, marked the evolution of the horn into what was later termed the natural horn. This instrument continued to be used long after the advent of the valve horn in the 19th century.
Carl Heinrich Graun, known for his operatic prowess, transitioned from a choir singer to a renowned opera composer, eventually becoming the Kapellmeister in the court of Frederick the Great. His work showcased the cultivation of the horn, evident in compositions like Trio in D major, characterized by melodious operatic duets and a refined courtly style. The "d'amore" suffix in the Oboe d'amore symbolizes its softer tone due to its deeper pitch, harmonizing well with the horn in D. Graun's Concerto in D major for Horn, Oboe d'amore, and Basso continuo exemplifies a baroque "Sonata da chiesa," containing ethereal solo horn passages amidst intricate musical challenges.
Joseph Haydn's Divertimento a 3, composed around 1767, posed challenges for hornists with its varied registers and demanding solo cadenza towards the finale. Evolving from its initial title as "Trio per il Corno da Caccia," later omitting the term "da Caccia," Haydn's composition exemplifies the transitioning role of the horn in music.
Georg Philipp Telemann's Concerto in F major presents a simpler horn part, along with the Blockflöte as the main soloist, portraying an aria-like quality in its slow movement. The Concerto in E-flat major showcases advanced horn passages in virtuosic tandem with two oboes, reminiscent of Graun's works and presenting a vivid musical dialogue.
Wolfgang Amadeus Mozart's Horn Quintet in E-flat major, featuring a unique string ensemble for a deeper resonance, incorporates aspects reflecting the needs of renowned hornists like Joseph Leitgeb. Leopold Mozart's Sinfonia da camera introduces humor and intricate melodic patterns, showcasing the horn in a style that was later considered outdated.
These selections of early horn works demonstrate the instrument's transition from an outdoors signaling tool to a chamber music and soloist's delight. Composers of the era often highlighted its hunting nature as a tribute to patrons and courtly life, thus associating the horn with nobility and formal concerts. As detailed in John Simpson's Compleat Tutor for the French Horn, published in 1746, the horn held a special significance, symbolizing both the rustic charm of hunting calls and the refined elegance of courtly performances.