The horn (a post-horn) did not appear in the arms of the family in question unt1l 1699, when the first peer Cas1m1r ]ohann Friedrich was created hereditary Post-Master The influence of such erroneous IS far-reaching Inquiries

at the de artment of

National Xrchn es in

Paris concerning Raoux,

the founder of the afterwards

famous firm of

horn-makers whose model

with pistons is used 1n

the British military bands

and at Kneller Hall,

proved fruitless. Fétis

states that he worked

during the second half of

the Igtll century. Albert

Chouquet I states that

he has seen a trumpet by

Raoux, “ seul 0rd1na1re

du Roy, Place du Louvre"

dated 1695. I'he inscripr

tions on the horns in question

are. For No 105, a

sflver horn of the simplest

form of construction 1n D,

“ Fait a Paris par Raoux ”;

for No. 106, a brass horn

engraved with a crown on

an erm1ne mantle with

the 1n1t1als C. A. (Carl

Albert), “ Fait a Paris

par Raoux, seul orclinaire

du Roy, Place du Louvre.”

Both horns measure across the coils 56 cm. and across the bell the cors de chasse now in

statements in the work of noted writers &J

From a Photo by K Teufel

Flo. 7 -Early Raoux Horn (Munich).

27% They are practically the same as use 1n French and Belgian military bands, the large diameter of the coil enabling the performer to carry It over his shoulder. The orchestral horn was gn en a narrower diameter 1n order to facilitate its being held 1n front of the performer IU a convenient position for stopping the bell with the r1ght hand No 107 1n the same collection, a horn of German construction, bears the inscription “ Macht Jacob Schmid 1n Nurnberg ' and the trademark “ ]. 5. ' with a bird. A horn 1n Ea of French make, having fleur-de-lys stamped on the r1m of the bell, and measuring only 15 1n. across the coils to the exterior edge of the bell-therefore a very small horn-1s preserved in the Grand Ducal Museum at Darmstadt 2 A horn 1n F# (probably F 1n modern high pitch), having the r1m ornamented as above and the 1nscr1pt1on “ Fait a Paris, Ca11111, ord1na1re du Roy, " readily g1es the harmonics from the 3rd to the 12th 3 The extreme width is 20 in “ Carlin, who lived at rue Croix des Petits Champs, died about 1780 l'he earliest dated horn extant is believed to be the one preserx ed 1n the Hohenzollern Museum 1n Sigmaringcn, “ Machts lhelm Haas, Nurnberg, 1688 ” 5 Another early German horn engra ed “ IIachts Heinr Rich Pfeiffer 1n Leipzig, 1697, " 6 formerly in Paul de W1t's museum 1n Leipzig dlld now transferred with the rest of the collection to Cologne, IS of sxmilar construction lhe horn must haxe been well known at this time 1n England, for there are 17th-century horns of English manufacture still extant, one, for instance, in the collection of the Rev. F W. Galpin by William Bull, dated 1699 7 In 1701 Clagget5 invented a contrivance by means of hxch to horns in different keys could be coupled and playcd b means of one mouthpiece, a vale or key opening the passage into the a1ras of one or the other of these horns at the will of the performer Another horn of English manufacture about 1700 “as exhibited at the bouth Kensington Museum in 1872, bearing o 337 in the catalogue, 1n which unfortunately no details are gn en Enough examples have been quoted to show that, from the specimens extant, Germany was not behind judging

l'ran<~e, if not actually ahead, 1n the manufacture of early natural horns.

Data are wanting concerning the instruments of Italy, Musée du Conservatoire National de Musique. Catalogue rle» ms/ruments de muazque (Paris, 1884), p. 147 ° 'ee

ee

Captain C. R Day, Descrtptwe Catalogue of the Mumcal IPITfV1177T£'71f5' exhtbz/ed al /he Mtlztary Exhtbztton (London, 1890), D 147, Xv 307

• ee '1lll()I], Ca/al vol.1 No 468

4 See Captain C. R Day, Catal. No. 309, p 148 “ l'o1 an illustration see Catalo ue of the Speczal Lmhtbt/mn oj Musical Instruments at .éauth Kensington Museum [872 4 11116711

1L.>nd<, n, 1873), p. 25, No £32

5 *ace

Katalog dry muszk zstorzachen Nlusemm wn Paul de II/at (Leipzig, 1904), p 112, No 564, where it is classified as a jagertrompcte atrtr Praeturius, it has a trumpet mouthpiece lor an illustration see F. j Crowest. Engltsh 11/Iztszc, p. 449, lo 12

• See lgnatz and ~

ton Bork Ill Bmcrtsches Musik-Lemkon by le] I Lpovsk1 (Mumth, 1811) 13.26, note. 1

I

they would probably prove to be the earliest of all, and as brass wind instruments are perishable are perhaps for that very reason unrepresented at the present day

The horn at the present stage in its evolution was also well represented among the illustrations of the musical literature in Germany' during the first half of the 18th century, and references to it are frequent.

The earliest orchestral music for the horn occurs in the operas of Cavalli and Cest1, leaders of the Venetian Opera 1n the 17th century Already 1n 1639 Cavalli 1n his opera Le Nozze M de Tito e Pele; (act 1. sc. I) introduced a short scena, “S C horns on a basso

clefs on the first,

use of the note

“ Chiamata alla C3CCl21Y' I" in C major for four cont1nuo An examination of the scoring 1n C second, third and fourth lines shows, y the § ;i?" = Qigi* in the bass part and in the second tenor of the 5th harmonic of the series, that the fundamental could have been no other than the 16-ft C; the highest A

note 1n the treble part is;f;, the 12th harmonic of the 8-ft. alto horn in C, now obsolete It is clear therefore that horns with tubing respectively 8 ft and 16 ft. long, which must have been disposed in coils as in the present day, were 1n use 1n Italy before the middle of the 17th century, fifty years before the date of their reputed invention in Paris

In the same opera, act i sc 4, “ Coro d1 Cavalieri " IS a stirring call to arms of elemental grandeur, 1n which occur the words: “ all' arm1, o la guerrieri corn1 e tambur1 e trombe, ogni campo ogni canto, arm1 r1mbombe.” There are above the voice parts four staves with treble and C clef signatures above the bass. and, althou h no instruments are indicated, the music written thereon, whicg alternates with the voices but does not accompany them, can have been intended for no instruments but trumpets and horns, thus carrying out the indications in the text. The horn IS here once again put to the same use as the Roman cornu, and associated in like manner with the descendant of the buccina in a call to arms It may be purely a coincidence that the early illustration of a horn with the tubing wound 1n coils round the body in the Strassburg Virgil mentioned above was put to the same use and associated wit the same instrument.

Cest1's operas likewise contain many passages evidently intended for the horn, although the instruments are not speci ed 1n the score, which was nothin unusual at the time. Lull1 composed the incidental music for a ballet, La Prmcesse d'El1.de, which formed part of Moliére's d1vert1ssement, “ Les plaisirs de l'ile enchantée, " written for a great festival at Versailles on the 7th of May 1664. A cop of the music for this ballet, made about 1680, is preserved in the library of the Fitzwilliam Museum, Cambridge. The music contains a piece entitled " Les v1olons et les cors de chasse, " written in the same style as Cavalli's scena; there are but two staves, and on both the music is characteristic of the horn, with which the violins would play in unison. The piece finishes on Bb Q1 and to play this note as the second of the harmonic series, the fundamental not being obtainable, the tube of the horn must have been over 17 ft. long. Among Ph1l1dor's copies of Lull1's ballets preserved in the library of the Paris Conservatoire of Music (vol. xlvii, p. 61) is a more complete copy of the above. The second number is an “Air des valets de chiens et des chasseurs avec les cors de chasse, " which is substantially the same as the one 1n the Fitzwilliam Museum, but set for live horns in Bb. Here again the use of D, the fifth note of the harmonic series, indicates that the Q

fundamental was *gt* a tone lower than the C horn hd

scored for by Cavalli, and known as Bw basso. Victor Mahillon 11 considers that the music reveals the fact that it was written for horns 1n Bb, 35 degrees (chromatic semitones) above 32-ft C, or Qisél M haing a wave-length of 1 475 m To this statement it is not possible to subscribe The quintette required four horns in Bb over 8 ft. long and one Bb basso about 17 ft. long. It IS obvious that the present custom of placing the bass notes of the horn on the 9

Sce, lor instance, frontispiece of Walther's Mustkahsches Lextkon (Leipzig, 1732), F. B. C. Majer's Mustk-Saat (Nuremberg, 1741, 2nd ed), p. 54; oh Christ Kolb, Pmacotheca Davtdica (Au sbur, 1711); Ps. xci; “ Componimenti Musicaliger il cembalo Dr 'lgheofifo Muffat, organist di sua Sacra Maesta arlo VI. Imp” (1690), title-page in Denkmaler cl Tonkunst tn Oestewetch, Bd. iii. 1" See Hugo Goldschmidt, “ Das Orchester der italienischen Oper im 17 Iahrhundt-rt, ” Intern. Mus Get, Snfbd. 1i. 1, p, 73. “ “we “ Le ('or, ' pp. 21 and 24, and Dtcttonnams de Fatad. des

beam arts, ol 1, art. ' Cor.