F clef an octave too low, as is now customary, had not yet been adopted, for 1n that case the bass horn would in several bars be play ing above the tenor

In 1647 Cardinal Mazarin, wishing to create in France a taste for Italian opera, had procured from Italy an orchestra, singers and m1se-en-scene That he was not entirely successful 1n makmg Pans appreciate Italian music lS beside the mark; he developed instead a demand for French opera, to WlllCl'l Lull1 proved equal. The great s1n11lar1ty in the style of the horn scéne by Cavalli and Lull1 may perhaps provide a clue to the myster1o11s and sudden a par1t1on of the natural horn 1n France, where nothing was known of) the hybr1d 1nstrun1ent th1rty years before, when Mersenne1 wrote his careful treatise on musical instruments The orchestral horn had been introduced from Italy. It IS not difficult to understand how the horn came to be called the French horn 1n England, the term only appears after Gerber and other writers had repeated the story of Count Sporken 1ntroduc1ng the 1nus1cal horn 1nto Bohemia* By this time the f1rm of Raoux, established 1n Paris a hundred years, had won for itself full recogn1t1on of its high standard of workmanship 1n the making of horns Th1s use of the horn by Lull1 1n the one ballet seems to be an isolated instance, no other has yet been quoted The 1ntroduct1on of the natural horn into the orchestra of the French opera did not occur unt1l much later in l7%5 in André Campra's Aohzlle et Dezdamze, and then only 1n a fan are. In the meantime the horn had already won a place in most of the rising opera houses and ducal orchestras3 of Germany, and had been introduced by Handel into the orchestra 1n London in his Water-muslc composed in honour of George I

Although the Ital1ans were undoubtedly the first to introduce the horn 1nto the orchestra, it figured at first only as the characteristic 1nstru1nent of the cl1ase, suggesting and accompany in hunting scenes or calls to arms For a more independent use of tl-ie horn 111 the orchestra we must turn to Germany Reinhard Ke1ser, the founder of German opera, at the end of the 17th century in Hamburg, introduced two horns 1n C 1nto the opening chorus of h1s opera Octavia 1n 1705, here the horns are added to the string quartette and the oboes, they play again in act 1. sc 3, and in act 1i. sc. 6 and 9 The compass used by the composer for the horns in C alto is the following~

—iv-»—IA|~ F -"' 'fl L

E&~, j: L'Ei;§

7§ 68910111213I4I6

W1lhelm Kleefeld draws attention to the characterization, which d1f'fered 1n the three acts In Henrrco (1711), in Dzana (1712) and 1n L'Inganno Fedele (1714) F horns were used. This called forth from 'lat the son' h1s much-quoted eulog1um, the earliest description of the orchestral horn “ D1e l1ebl1ch pom eusen Waldhorner sind bei 1tz1ger Zeit sehr en vogue kommen, we1l)sie theils nicht so rude von Nafur sind als d1e Trompeten, te1ls such we1l sie mit mehr Facilzte konnen tract1ret werden Die brauchbarsten haben F und m1t den Trompeten aus dem C gleichen Ambrtum. Sie kl1ngen such dicker und fullen besser aus als d1e ubertaubende und schreyende Clarinen weil s1e um elne ganze quinte t1efer stehen.” Lott1 1n h1s Gzoze rn Argo, g1ven in Dresden, 1717, scored for two horns 1n C, writing for them solz in the ar1a for tenorf' (act ill. sc 1) Examples of C H Graun's° scoring for horns in F and G respect1velv 1n Polydorus (1728-1729) and 111 Iphrgenza. (1731) show the complete emancipation of the instrument from its original l1m1tat1ons, it serves not onl as melod instrument but also to enrich the harmony and emplias1ze the rh thm. A comparison of the earlv scores of Cavalli and Lull1 with those of Handel s Wasserfahrtmuszlzl (1717) and of Radarmsto, performed in London in 1720, 1Mersenne's drawings of cors de ehosse are very crude; they haye no bell and are all of the large calibre suggestive of the primitive animal horn He mentions nevertheless that they were not only used for signals and fanfares but also for l1ttle concerted pieces 1n four parts for horns alone, or w1th oboes, at the conclusion of the hunt

“ 'Ree W1lll2ll11 I'ans'ur Senior, The Elements of Muszck (London, 1772), Br ' D1ct10nary under “Horn” Also Scale of Horn inl the hand of Samuel Weslev, 1n Add MS 35011, fol. 166, Brit. B us

3 ~ horn-play er, johann Theodor Zeddelmayer, was engaged 1n 1706 at the Saxon court at Weissenfels; see Neue-Mztterlnngen aus dem Gebzete hzstor antzqu Forschungen, Bd xv (2) (Halle, 1882), p 503 also Wilhelm Kleefeld, “Das Orchester der Hamburger Oper, 1678-1738, " Intern. Mus. Ges, Smbd. i. 2, p 280, whe;:1 the appearance of the horn in the orchestras of Germany 1S trac

1 Das neu-erojfnete Orchesler, i 267.

5 See Moritz Furstenau, Zur Geschichte der M uszk und des Theaters zu Dresden (Dresden, 1861-1862), vol il p 60 See "Carl Heinrich Graun als Opernkomponist, " by Albert lay er-Reinaeh, Intern' Mus Ges, Smbd 1 3 (Leipzig, 1900), pp § l6~§ I'] and S23-524, where musical examples are giyen Cf (, l1r<a11dcr, IIaendel,11 146

shows the rapid progress made by the horn, even at a time when its technique was still necessarily imperfect

While Bach was conductor of the prince of Anhalt-Cothen's orchestra (1717-1723), it IS probable that horns 1n several keys were used In Dresden two Bohemian hor11 players, ]ohann Adalbert F1scher and Franz Adam Samm, were added to the court orchestra 1n 1711 5 In Vienna the addition 15 stated to have taken place in 1712 at the opera” It IS [)lOlI)al)l€ that as in Par1s so 1n Vienna there were solitary instances ll] which the l1orn was hea1d in opera without attracting the attention of musicians long before 1712, for instance in C€St1'S Il Porno d'Oro, printed in Vienna 1n 1667 and 1668 and performed for the edding ceren1on1es of Kaiser Leopold and Margareta, infanta of Spain A horn 1n E (former F p1tc) in the museum of the Brussels conseryato1re bears the inscription “ Machts I)/l1Cl'la€l Le1chan1 Scl1ne1der in Wien, 1713 "1° Furstenau11 gives a further l1>t of operas in Vienna dur1ng the first two decades of the 18th century.

It will be well before the next stage in the evolution is approached to consider the compass of the natural horn The edal octave from the fundamental to the 2nd harmonic was altogetlier ant1n; the next octave contained onl the 2nd and 3I'(l harn1on1cs or the octave and its fifth; in the third octave, the 8ye, its major 3rd, 5th and minor 7th; 1n the fourth octave, a d1ato111c scale with a few accidentals was possible. It ll be seen that the compass was VCIY limited on any individual horn, but by grouping horns 1n different keys, or by changing the crooks, command was gained by the composer over a larger number of open notes

An important period in the development of the horn has now been reached. Anton Joseph Ham el is generally crecl1ted12 f l'l the innovation of adapting the croofgs to the n11ddle of the body of the horn instead of near the mouthpiece, wh1ch reatly improved the quahty of the notes obtained by means of ghe crooks The crooks fitted into the two branches of U-shaped tubes, thus forming sl1des which acted as compensator's Hampel's Inzentronshorn, as it is called in Germany (Fr cor hornzonzgue), is said to date from 1753,13 the first instrument having been made for h1m by ]ohann Werner, a brass instrument-maker of Dresden. The same invention is also attributed to Haltenhof of Hanau 11 Others again mention Michael Wogel15 of Carls1uhe and Rastadt, probably confusing h1s adaptation of the Inoentzon or Maschzne, as the sl1de contrivance was called 1n German, to the trumpet in 1780. The Invent1onshorn, although enibocfying an important principle which has also found 1ts application 1n all brass wind instruments with valves as a means of correcting defective 1ntonat1on, d1d not add to the compass of the horn At some date before 1762 it would seem that Hampel1“ also discovered the principle on which ha11d-stopping is founded.

By hand-stopping (Fr sons bonchés, Ger gestopfte Tone) is understood the practice of inserting the hand with palm outstretched and 8 See Moritz Furstenau, op at 11 58.

“See Ludw1g von Kochel, Dre kazserlrche Hof/eappelle rn Wren (Vienna, 1869), p 80.

1° See V1ctor Mahillon, Catalogue deserzptrf, vol ii. No. 1160, p. 389. 11 Op. at ii 60.

12 The Department of State Archives for Saxony in Dresden possesses no documents wh1ch can throw an light upon th1s point, but, through the courtesy of the director, the follow1ng facts have been communicated. Two documents concerning Anton Joseph Hampel are extant' (1) An ap l1cat10n by his son, johann Michael Hampel, to the elector Friecliuch August III. of Saxony, dated Dres en, April 3, 1771, 1n wh1ch he prays that the post of his father as horn-player in the court orchestra-1n which he had already served as deputy for his invalid father-may be awarded to him. (2) A petition from the widow, Aloisia Ludev1ca Hampelin, to the elector, bearing the same date (April 3, 1771), wherein she announces the death of her husband on the 30th of March 1771, who had been 1n the service of the house of Saxony thirty four years as horn player, and prays for the grant of a monthly pension for herself and er three delicate daughters, as she finds herself in the most unfortunate circumstances There lS no allus10n 1n either letter to any musical merit of the deceased.

11 There 1s an instrument of th1s early type, supposed to date fron1 the middle of the Igfh century, 1n Paul de W1t'S fine collection of musical instruments formerly 1n L@1pZig and now transferred to Cologne; see Katalog, No 645, p 148

H g1See Dzctzonnazre de Vacad. des beazrc arts, yol iv. (Paris), article or

11' See Dr Gustav Schilling, Unwersal Lexzkon der Tonkunst (5lUf¥gHI'¥» 1340), Bd Vi, “Trompete ”, also Capt. C. R. Day, pp 139 and 151, where the term Invention is quite misunderstood iasnp misapplied See Gottfried /Veber in Caeczlza (Mainz, 1835), < xvu.

1° Gerber in the first edition of his Lexzkon does not mention Hampel or award him a separate biographical article; we may therefore conclude that he was not personally acquainted with him. although Hampel was still a member of the electoral orchestra in Dresden during Gerher's short career in Leipzig In the edition of

1812 Gerbcr renders hun full justice