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Picnic at Hanging Rock (novel)
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For the 1975 film adaptation of the novel, see Picnic at Hanging Rock (film).
Picnic at Hanging Rock
First edition cover
Author
Joan Lindsay
Country
Australia
Language
English
Genre
Historical novel
Publisher
F. W. Cheshire
Penguin (paperback)
Publication date
1967
Media type
Print (hardcover and paperback)
Pages
212 (first printing)
Picnic at Hanging Rock is an Australian historical fiction novel by Joan Lindsay. Set in 1900, its plot focuses on a group of female students at an Australian girls' boarding school who inexplicably vanish at Hanging Rock while on a Valentine's Day picnic. It also explores the outlying effects the disappearances have on the school and local community. The novel was first published in 1967 in Australia by Cheshire Publishing and was reprinted by Penguin in 1975. It is widely considered by critics to be one of the best Australian novels.
Though the events depicted in the novel are entirely fictional, it is framed as though it is a true story, corroborated by ambiguous pseudohistorical references. Its irresolute conclusion has sparked significant public, critical, and scholarly analysis, and the narrative has become a part of Australia's national folklore as a result. Lindsay claimed to have written the novel over two weeks at her home Mulberry Hill in Baxter, on Victoria's Mornington Peninsula, after having successive dreams of the narrated events.
An excised final chapter of the novel was published posthumously as a standalone book in 1987, titled The Secret of Hanging Rock, and also included critical commentary and interpretive theories on the novel. Another book, titled The Murders at Hanging Rock, was published in 1980, proposing varying interpretations. The novel has been adapted across numerous media, most famously in the 1975 critically acclaimed film of the same name by director Peter Weir.
Contents
[hide]
1 Plot
1.1 Excised final chapter
2 Conception
3 Basis in reality
3.1 Impact on local tourism
4 Publication history
5 Critical analysis
6 Adaptations
6.1 Film
6.2 Theatre
6.3 Radio
6.4 Miniseries
7 See also
8 Notes
9 References
10 Works cited
11 Further reading
12 External links
Plot[edit]
The novel begins with a brief foreword, which reads:
"Whether Picnic at Hanging Rock is fact or fiction, my readers must decide for themselves. As the fateful picnic took place in the year nineteen hundred, and all the characters who appear in this book are long since dead, it hardly seems important."
At Appleyard College, an upper-class women's private boarding school, a picnic is being planned for the students under the supervision of Mrs. Appleyard, the school's headmistress. The picnic entails a day trip to Hanging Rock in the Mount Macedon area, Victoria, on St. Valentine's Day in 1900. One of the students, Sara, who is in trouble with Mrs. Appleyard, is not allowed to go. Sara's close friend Miranda goes without her. When they arrive, the students lounge about and eat a lunch. Afterward, Miranda goes to climb the monolith with classmates Edith, Irma, and Marion. The girls' mathematics teacher, Greta McCraw, follows behind them. As they ascend the rock, in a dreamlike episode, Miranda, Marion, and Irma vanish into the rock while Edith watches; she returns to the picnic in hysterics, disoriented and with no memory of what occurred. Miss McCraw is also nowhere to be accounted for. The school scours the rock in search of the girls and their teacher, but they are not found.
The disappearances provoke much local concern and international sensation with rape, abduction, and murder being assumed as probable explanations. Several organized searches of the picnic grounds and the area surrounding the rock itself turn up nothing. Meanwhile, the students, teachers and staff of the college, as well as members of the community, grapple with the riddle-like events. Mike Fitzhubert embarks on a private search of the rock and discovers Irma, unconscious and on the verge of death. When he fails to return from his search, he is found at the rock with Irma in an unexplained daze, by his friend and uncle's coachman, Albert Crundall.
Concerned parents begin withdrawing their daughters from the prestigious college, prompting various staff to leave; the college's handyman and maid quit their jobs, and the French instructor, Mlle. Dianne de Poitiers, announces that she will be getting married and leaving the college as well. A junior governess at the college, Dora Lumley, also leaves with her brother Reg, only for both to be killed in a hotel fire. Amidst the unrest both in and around the college, Sara vanishes, only to be found days later, having apparently committed suicide (her body was found directly beneath the school's tower, with her head "crushed beyond recognition"). Mrs. Appleyard, distraught over the events that have occurred, kills herself by jumping from a peak on Hanging Rock.
In a pseudo-historical afterword purportedly extracted from a 1913 Melbourne newspaper article, it is written that both the college, and the Woodend Police Station where records of the investigation were kept, were destroyed by a brush fire in the summer of 1901. In 1903, rabbit hunters came across a lone piece of frilled calico at the rock, believed to have been part of the dress of the governess, Miss Greta McCraw, but neither she nor the girls were ever found.
Excised final chapter[edit]
According to her editor Sandra Forbes, Lindsay's original draft of the novel included a final chapter in which the mystery was resolved. At her editor's suggestion, Lindsay removed it prior to publication.[1] Chapter Eighteen, as it is known, was published posthumously as a standalone book in 1987 as The Secret of Hanging Rock by Angus & Robertson Publishing.[citation needed]
The chapter opens with Edith fleeing back to the picnic area while Miranda, Irma, and Marion push on. Each girl begins to experience dizziness and feel as if she is "being pulled from the inside out." A woman suddenly appears climbing the rock in her underwear, shouting "Through!", and then faints. This woman is not referenced by name and is apparently a stranger to the girls, yet the narration suggests she is Miss McCraw. Miranda loosens the woman's corset to help revive her. Afterwards, the girls remove their own corsets and throw them off the cliff. The recovered woman points out that the corsets appear to hover in mid-air as if stuck in time, and that they cast no shadows. She and the girls continue together. The girls then encounter what is described as "a hole in space," by which they physically enter a crack in the rock following a lizard; the unnamed woman transforms into a crab and disappears into the rock. Marion follows her, then Miranda, but when Irma's turn comes, a balanced boulder (the hanging rock) slowly tilts and blocks the way. The chapter ends with Irma "tearing and beating at the gritty face on the boulder with her bare hands."
The missing material amounts to about 12 pages; the remainder of the publication The Secret at Hanging Rock contains discussion by other authors, including John Taylor and Yvonne Rousseau. The suspension of the corsets and description of the hole in space suggest that the girls have encountered some sort of time warp, which is compatible with Lindsay's fascination with and emphasis on clocks and time in the novel.[2] The transformations into animals recalls traditional Indigenous Australian beliefs.
Conception[edit]
At the Hanging Rock by William Ford (1875) was the basis of the novel's title; in addition to her writing, Lindsay was also a professional painter and influenced by visual art.[a]
Lindsay claimed to have written the novel based on an idea she had in a dream. In a 2017 article in The Age, it was noted: "The dream had centred on a summer picnic at a place called Hanging Rock, which Joan knew well from her childhood holidays. Joan told Rae [her housekeeper] that the dream had felt so real that when she awoke at 7.30am, she could still feel the hot summer breeze blowing through the gum trees and she could still hear the peals of laughter and conversation of the people she'd imagined, and their gaiety and lightness of spirit as they set out on their joyful picnic expedition."[5]
According to her housekeeper at the time, the events of the novel were dreamt by Lindsay successively.[5][6] Several years after the publication of the novel, Lindsay would recount the experience of writing it as such: "Picnic at Hanging Rock really was an experience to write, because I was just impossible when I was writing it. I just sort of thought about it all night and in the morning I would go straight up and sit on the floor, papers all around me, and just write like a demon!"[5]
The novel was written over a total of two weeks at Lindsay's home in Mulberry Hill.[5] In thinking of a title, Lindsay recalled the painting At the Hanging Rock by William Ford, which had hung in her husband Daryl's office at the National Gallery of Victoria,[7] and chose to incorporate it into the title as it was "simple and pretty, and belied the horrors hidden within."[5] In an interview after Lindsay's death, academic Terrence O'Neill, who had befriended Lindsay, remarked the supernatural elements of the novel: "It was clear that [Joan] was interested in Spiritualism, and longed for some spiritual dimension in her life, but she didn't feel safe bringing that side of her out in front of her husband. So I think she channelled it into her writing. I know she was very interested in Arthur Conan Doyle and his belief in and theories about Spiritualism, nature and the existence of spirits."[5]
The novel was imported for sale in the United States, and would receive its first publication there in 2014 by Penguin Random House.[8] In the United Kingdom, the novel was printed in several editions by Vintage, in 1998[9] and 2013.[10]
Basis in reality[edit]
Did I think the story was true? We did talk about this. But the truth for Joan was different to the rest of us. She was never straightforward about it. I think I decided in the end that it was a great work of the imagination. I see it as a book of place; a painterly book that captures the atmosphere of the Australian bush.
Sandra Forbes, editor, on the novel's truth claim[5]
Picnic at Hanging Rock is written in the form of a true story, and even begins and ends with a pseudohistorical prologue and epilogue, reinforcing the mystery that has generated significant critical and public interest since its publication in 1967.[5][11] However, while the geological feature, Hanging Rock, and the several towns mentioned are actual places near Mount Macedon, the story itself is entirely fictitious.[12][13] Lindsay had done little to dispel the myth that the story is based on truth, in many interviews either refusing to confirm it was entirely fiction,[14] or hinting that parts of the book were fictitious and that others were not. The dates named in the novel do not correspond to actual dates in the 1900 calendar. For instance, Valentine's Day, 14 February 1900, occurred on a Wednesday, not a Saturday; similarly, Easter Sunday fell on April 15 in 1900, not on March 29.[15]
Appleyard College was to some extent based on Clyde Girls' Grammar School at East St Kilda, Melbourne, which Joan Lindsay attended as a day-girl while in her teens. Incidentally, in 1919 this school was transferred to the town of Woodend, Victoria, about 8 km southwest of Hanging Rock.[16]
When asked in a 1974 interview about whether or not the novel was based in truth, Lindsay responded: "Well, it was written as a mystery and it remains a mystery. If you can draw your own conclusions, that's fine, but I don't think that it matters. I wrote that book as a sort of atmosphere of a place, and it was like dropping a stone into the water. I felt that story, if you call it a story—that the thing that happened on St. Valentine's Day went on spreading, out and out and out, in circles."[17] The unsolved mystery of the disappearances in the novel aroused enough lasting public interest that in 1980 a book of hypothetical solutions (by Yvonne Rousseau) was published, called The Murders at Hanging Rock.[18]
Impact on local tourism[edit]
Statue of fictional Miranda character at the Hanging Rock visitors' centre.
In 2017, in conjunction with the 50th anniversary of the novel's publication, an Australian doctoral student named Amy Spiers began the "Miranda Must Go" campaign, criticising the novel's propagation of itself as a true story in relationship to local tourism at Hanging Rock.[19] Spiers argued that the focus on the fictional narrative obscures its longer history and connection with the Aborigines:
At Hanging Rock we've become obsessed with the myth almost to the point where we sort of tell it as though it is a true story, but we completely ignore the true losses that have happened there. Most of the Aboriginal people living in that area died of smallpox or were murdered by colonists or removed to Coranderrk [Aboriginal Reserve in Healesville] in 1836 ... It's just fascinating to me that we keep choosing to be haunted by a [fictitious] story rather than the real losses that have occurred in that place.[19]
Spiers cited the common practice among tourists to scream "Miranda!" from atop the rock as an example of the site's strong cultural associations with the novel and its film adaptation; she also noted that the visitors' centre caters significantly to the myth of the "missing schoolgirls," with dioramas, videos, panels and soundtracks from both the novel and the film, while the real history of the monolith and its significance to the indigenous culture was less acknowledged.[20] Supporters of the campaign held a protest on St. Valentine's Day 2017 at the rock.[20]
In response to the campaign, Luke Spielvogel, the president of Friends of Hanging Rock, noted that the novel and particularly, the character of Miranda, captured the "ethereal, mysterious nature of the rock"; he also suggested the novel and character should remain part of the "broader tapestry" of the site:
For 40,000 years Hanging Rock has brought people together, and Miranda and the film and the book are all part of that story. But a significant part of that story was to understand the Indigenous history and further investigate the Indigenous name ... We focus on one aspect of popular culture around Hanging Rock, and I think what Amy is trying to do is tell a broader story, and we certainly support that. [19]
Publication history[edit]
The novel was first printed in Australia by F. W. Cheshire, released on 1 November 1967.[5] It was reprinted in paperback by Penguin Books' Australian division in 1975, printed in conjunction with the release of the film adaptation.[21][22] A hardback illustrated edition was also printed in Australia in 1987, also by Penguin.[23] It would receive another reprinting by Penguin Books Australia in 2013 as part of the "Penguin Australian Classics" series.[24]
Critical analysis[edit]
Picnic at Hanging Rock is considered by many critics to be one of the best Australian novels.[25][26] Much of the critical and scholarly interest in the novel has centered on its mysterious conclusion, as well as its depiction of Australia's natural environment in contrast with the Victorian population of the newly established British colony.[b] In 1987, literary scholar Donald Bartlett drew comparisons between Lindsay's treatment of the rock with that of Malabar Hill in E. M. Forster's A Passage to India, which has been interpreted as a metaphor for Pan, the Greek god of the wild: "There is more, of course, to A Passage to India than Pan motifs, for example symbols such as the snake, the wasp and the undying worm, not to mention the vast panorama of India's religions. But I believe it probable that Joan Lindsay consciously borrowed the elements [from A Passage to India]."[28]
Literary scholar Kathleen Steele argues in her essay "Fear and Loathing in the Australian Bush: Gothic Landscapes in Bush Studies and Picnic at Hanging Rock" that the novel's treatment of landscape and its missing characters is reflective of Australia's national history and the relationship between the rock and the Aboriginal population: "The silence surrounding Aborigines, and the manner in which Europeans foregrounded "geographical, historical and cultural difference and discontinuity," yet denied Aborigines either presence or history, created a gothic consciousness of "something deeply unknowable and terrifying in the Australian landscape. .. Lindsay provokes a reflection on the understanding of Australia as an un-peopled land where nothing of consequence occurred until the British gave it a history."[27]
Steele further notes that Lindsay's "gothic landscapes raise doubts that the majority [of Australians] ever subscribed" to the notion that the country and its natural environment was unmarked by a history prior to the arrival of the British colony.[29]
Adaptations[edit]
Film[edit]
Main article: Picnic at Hanging Rock (film)
The first film adaptation of the book was a short by Tony Ingram, a fourteen-year-old filmmaker, who got permission from Joan Lindsay to adapt her book as The Day of Saint Valentine. However, only about ten minutes of footage was filmed before the rights were optioned to Peter Weir for his more famous feature-length version, and the production was permanently shelved. The completed footage is included on some DVD releases of Weir's film.[30]
The feature film version of Picnic at Hanging Rock premiered at the Hindley Cinema Complex in Adelaide on 8 August 1975. It became an early film of the Australian New Wave and is arguably Australia's first international hit film.[5]
Theatre[edit]
Picnic at Hanging Rock was adapted by playwright Laura Annawyn Shamas in 1987 and published by Dramatic Publishing Company. Subsequently, it has had many productions in the US, Canada, and Australia. There have also been musical adaptations of the novel.
A stage-musical adaptation, with book, music, and lyrics by Daniel Zaitchik, was scheduled to open in New York City in the fall of 2012.[31] The musical received a 2007 staged reading at New York's Lincoln Center,[32] and further workshop development at the 2009 O'Neill Theater Center National Music Theater Conference.[33] The musical had its world premiere on 28 February 2014 at Weber State University in Ogden, Utah under the direction of Jim Christian.[34]
In 2016, the Malthouse Theatre in Melbourne showed a stage adaptation dramatized by Tom Wright and directed by Matthew Lutton.[35] The production was later staged at The Royal Lyceum Theatre in Edinburgh, Scotland in January 2017. The overseas production worked alongside the original Australian theatre makers Malthouse Theatre, Melbourne as well as Black Swan State Theatre Company.[36] The Malthouse Theatre also presented Picnic at Hanging Rock in 2018. [37]
Radio[edit]
In 2010, BBC Radio 4 broadcast a radio adaptation.[38] The cast included Simon Burke, Penny Downie, Anna Skellern and Andi Snelling.[39]
Miniseries[edit]
Main article: Picnic at Hanging Rock (TV series)
On September 6, 2016, it was announced that Fremantle Media and pay-TV broadcaster Foxtel will be producing a six-part miniseries, to be broadcast in 2017.[40] The miniseries became available on Amazon Prime streaming on May 25, 2018.
See also[edit]
Legend tripping
Hanging Rock, Victoria
Tasmanian Gothic
Notes[edit]
Jump up ^ Lindsay spent the majority of her early life studying art, and was a graduate of the National Gallery of Victoria Art School.[3] Donald Barrett further notes Lindsay's role as a painter as a potential source of influence in her writing, specifically in Picnic at Hanging Rock.[4]
Jump up ^ Both Donald Bartlett and Kathleen Steele are significantly interested in the role of the Australian Bush as it is depicted in Picnic at Hanging Rock, specifically the interaction between the "untamed" natural environment and the newly-arrived Victorian colony. Steele specifically addresses the notion of Australia as a "haunted site ... full of unseen presences."[27]
References[edit]
Jump up ^ Symon, Evan V. (14 January 2013). "10 Deleted Chapters that Transformed Famous Books". listverse.com.
Jump up ^ Lindsay, Joan (1987). The Secret of Hanging Rock. Australia: Angus & Robertson. ISBN 0-207-15550-X.
Jump up ^ Benson 2005, p. 888.
Jump up ^ Barrett 1987, p. 80.
^ Jump up to: a b c d e f g h i j McCulloch, Janelle (1 April 2017). "The extraordinary story behind Picnic at Hanging Rock". The Age. Retrieved 14 May 2017.
Jump up ^ "Hanging out for a mystery". Sydney Morning Herald. 21 January 2007. Retrieved 14 May 2017.
Jump up ^ Adams, Phillip. "The great Lindsay mystery". The Australian. Retrieved 16 May 2017.
Jump up ^ Lindsay, Joan (2014) [1967]. Picnic at Hanging Rock. Penguin Random House. ISBN 978-0-14-312678-2.
Jump up ^ Lindsay, Joan (1998) [1967]. Picnic at Hanging Rock. ISBN 0-09-975061-9.
Jump up ^ Lindsay, Joan (2013) [1967]. Picnic at Hanging Rock. ISBN 978-0-09-957714-0.
Jump up ^ Skidmore & Clark 2014, p. 127.
Jump up ^ Barrett 1987, p. 85.
Jump up ^ Edward, Louise (1 April 2017). "Picnic At Hanging Rock: A mystery still unsolved". The Daily Telegraph. Retrieved 16 May 2017.
Jump up ^ Phipps, Keith. "Picnic At Hanging Rock". The Dissolve. Retrieved 21 October 2015.
Jump up ^ Hales, Lydia (31 January 2014). "On this day: Picnic at Hanging Rock airs in the US". Australian Geographic. Retrieved 14 June 2017.
Jump up ^ "Isabella Thomson". Australian Dictionary of Biography. Australian National University. Retrieved 14 May 2017.
Jump up ^ Lindsay, Joan (subject); McKay, Ian (director); Taylor, John (interviewer) (1975). Interview with Joan Lindsay. Refern, NSW: AAV Australia for the Australia Council. Archived from the original (video recording) on 1 January 1988. Retrieved 25 October 2015. (Excerpt available on DailyMotion)
Jump up ^ Rousseau, Yvonne (1980). The Murders at Hanging Rock. Fitzroy, Australia: Scribe Publications. ISBN 0-908011-02-4.
^ Jump up to: a b c Romensky, Larissa (16 January 2017). "No picnic at Hanging Rock: Campaign to recognise Aboriginal past rather than 'white myth'". ABC. Victoria, Australia. Retrieved 16 May 2017.
^ Jump up to: a b Webb, Carolyn (26 January 2017). "Replace 'Miranda' myth with Indigenous history at Hanging Rock, says activist". The Age. Retrieved 16 May 2017.
Jump up ^ "Picnic at Hanging Rock". Penguin Australia. Retrieved 14 May 2017.
Jump up ^ Lindsay, Joan (1975) [1967]. Picnic at Hanging Rock. Penguin. ISBN 978-0-14-003149-2.
Jump up ^ Lindsay, Joan (1987) [1967]. Picnic at Hanging Rock. Illustrated Edition. Penguin Australia. ISBN 978-0-670-81828-0.
Jump up ^ Lindsay, Joan (2013) [1967]. Picnic at Hanging Rock. Penguin Australia. ISBN 978-0-14-356973-2.
Jump up ^ "The Top 20 must-read Australian novels". Mamamia. 12 January 2011. Retrieved 31 October 2015.
Jump up ^ Staff. "10 Aussie books to read before you die". ABC. Retrieved 30 October 2015.
^ Jump up to: a b Steele 2010, p. 37.
Jump up ^ Barrett 1987, pp. 83–84.
Jump up ^ Steele 2010, p. 50.
Jump up ^ Ingram, Tony. "The Day of Saint Valentine". Hanging Rock Recreation Reserve. Archived from the original on 25 December 2008.
Jump up ^ Horwitz, Jane (30 August 2011). "Backstage: Chatting with Brian MacDevitt, Tony-winning lighting designer". The Washington Post. Retrieved 29 September 2011.
Jump up ^ "News". Joe Calarco. Retrieved 29 September 2011.
Jump up ^ Gans, Andrew (15 April 2009). "Musicals Tales of the City and Picnic at Hanging Rock to Be Developed at O'Neill Theater Center". Playbill. Archived from the original on 5 March 2014.
Jump up ^ Hetrick, Adam (28 February 2014). "World Premiere of Daniel Zaitchik Musical Picnic at Hanging Rock Debuts in Utah Feb. 28". Playbill. Archived from the original on 5 March 2014.
Jump up ^ Gow, Keith (3 March 2016). "Malthouse: Picnic at Hanging Rock". Aussie Theatre. Retrieved 16 May 2017.
Jump up ^ "Picnic at Hanging Rock 2017". Royal Lyceum Theatre Edinburgh. Retrieved 1 September 2016.
Jump up ^ https://vimeo.com/254959058
Jump up ^ "Picnic at Hanging Rock". BBC. 15 Minute Drama. Retrieved 26 December 2016.
Jump up ^ "Picnic at Hanging Rock". Radio Listings. 22 October 2015.
Jump up ^ Frater, Patrick (6 September 2016). "Australian Classic 'Picnic at Hanging Rock' to Be Remade as TV Series". Variety. Retrieved 14 May 2017.
Works cited[edit]
Barrett, Donald (1987). "Picnicking with E.M. Forster, Joan Lindsay et al." Linq. James Cook University. 5 (1): 79–86.
Benson, Eugene, ed. (2005). Encyclopedia of Post-Colonial Literatures in English. Routledge. ISBN 978-0-415-27885-0. CS1 maint: Extra text: authors list (link)
Skidmore, Stephanie; Clark, Ian D. (2014). "Hanging Rock Recreation Reserve". An Historical Geography of Tourism in Victoria, Australia: Case Studies. Walter de Gruyter & Co. ISBN 978-3-11-037010-2.
Steele, Kathleen (2010). "Fear and Loathing in the Australian Bush: Gothic Landscapes in Bush Studies and Picnic at Hanging Rock" (PDF). Colloquy. Monash University. 20.
Further reading[edit]
McCulloch, Janelle (2017). Beyond the Rock. Bonnier Australia. ISBN 978-1-76040-562-5.
External links[edit]
Library resources about
Picnic at Hanging Rock (novel)
Online books
Resources in your library
Resources in other libraries
Research
Picnic at Hanging Rock at the National Library of Australia
Catalog record for Picnic at Hanging Rock at the United States Library of Congress
Official website of Hanging Rock (Mount Diogenes) in Australia
Theoretical analyses
"The great Lindsay mystery" by Phillip Adams (The Australian)
The Solution to Picnic at Hanging Rock? by McKenzie Solutions
Adaptations
Official Site of the North American musical
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e
Joan Lindsay
Novels
Through Darkest Pondelayo (1936)
Time Without Clocks (1962)
Facts Soft and Hard (1964)
Picnic at Hanging Rock (1967)
Syd Sixpence (1982)
Short stories
Holiday (1923)
Yellow Roses (1924)
The Awakening (1924)
Good with Cats (1980)
Plays
Wolf! (1930)
Spring Tangle (ca. 1935)
Cataract (1940)
My Kingdom for a Chocolate Blancmange! A tragedy in fifty thousand acts. With apologies to William Shakespeare, Thornton Wilder and some very fine artists (1948)
Floreat Anglesea (1950)
This Modern Art (1951)
Novellas
Love and Information (1982)
Published artwork
Gum Tree (1925)
Evening, Howqua (1926)
Landscape, Berwick (1926)
Golden Seabirds (1970)
Low Tide (1972)
Seabirds (1981)
Related articles
Picnic at Hanging Rock
Daryl Lindsay
Hanging Rock, Victoria
List of Australian novelists
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French horn
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French horn
French (German double) horn
Brass instrument
Other names
Horn
de: Horn, Waldhorn, Ventilhorn
es: trompa or corno
fr: cor (d'harmonie)
it: corno
Classification
Aerophone
Wind
Brass
Hornbostel–Sachs classification
423.232
(Valved aerophone sounded by lip movement)
Playing range
in F: sounds a perfect fifth lower than written. Nonetheless, in older music, bass-clef notes are written one octave lower (thus sounding a perfect fourth higher than written).[1]
Related instruments
Tenor horn (alto horn)
Baritone horn
German horn
Mellophone
Natural horn
Post horn
Saxhorn
Vienna horn
Wagner tuba
Musicians
List of horn players
Builders
List of horn makers
More articles
List of horn techniques
List of compositions for horn
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e
The French horn (since the 1930s known simply as the "horn" in some professional music circles) is a brass instrument made of tubing wrapped into a coil with a flared bell. The double horn in F/B♭ (technically a variety of German horn) is the horn most often used by players in professional orchestras and bands. A musician who plays any kind of horn is generally referred to as a horn player (or less frequently, a hornist).
Pitch is controlled through the combination of the following factors: speed of propulsion of air through the instrument (controlled by the player's lungs and thoracic diaphragm); diameter and tension of lip aperture (controlled by the player's lip muscles—the embouchure) in the mouthpiece; plus, in a modern French horn, the operation of valves by the left hand, which route the air into extra sections of tubing.[2] Most horns have lever-operated rotary valves, but some, especially older horns, use piston valves (similar to a trumpet's) and the Vienna horn uses double-piston valves, or pumpenvalves. The backward-facing orientation of the bell relates to the perceived desirability to create a subdued sound in concert situations, in contrast to the more piercing quality of the trumpet. A horn without valves is known as a natural horn, changing pitch along the natural harmonics of the instrument (similar to a bugle). Pitch may also be controlled by the position of the hand in the bell, in effect reducing the bell's diameter. The pitch of any note can easily be raised or lowered by adjusting the hand position in the bell.[3]
Three valves control the flow of air in the single horn, which is tuned to F or less commonly B♭. The more common double horn has a fourth valve, usually operated by the thumb, which routes the air to one set of tubing tuned to F or another tuned to B♭. Triple horns with five valves are also made, usually tuned in F, B♭, and a descant E♭ or F. There are also double horns with five valves tuned in B♭, descant E♭ or F, and a stopping valve, which greatly simplifies the complicated and difficult hand-stopping technique[4], though these are rarer. Also common are descant doubles, which typically provide B♭ and alto F branches. This configuration provides a high-range horn while avoiding the additional complexity and weight of a triple.
A crucial element in playing the horn deals with the mouthpiece. Most of the time, the mouthpiece is placed in the exact center of the lips, but, because of differences in the formation of the lips and teeth of different players, some tend to play with the mouthpiece slightly off center.[5] Although the exact side-to-side placement of the mouthpiece varies for most horn players, the up-and-down placement of the mouthpiece is generally two-thirds on the upper lip and one-third on the lower lip.[5] When playing higher notes, the majority of players exert a small degree of additional pressure on the lips using the mouthpiece. However, this is undesirable from the perspective of both endurance and tone: excessive mouthpiece pressure makes the horn sound forced and harsh, and decreases player's stamina due to the resulting constricted flow of blood to the lips and lip muscles.[6] It is the goal of all serious brass musicians to develop their technique such that additional mouthpiece pressure is avoided altogether, or at the very least, minimized.
Contents
[hide]
1 Name
2 History
3 Types
3.1 Single horn
3.2 Double horn
3.3 Detachable bell
4 Related horns
4.1 Natural horn
4.2 Vienna horn
4.3 Mellophone
4.4 Marching horn
4.5 Wagner tuba
5 Repertoire
5.1 Orchestra and concert band
5.2 Chamber music
6 Orchestral and concert band horns
7 In jazz
8 Notable horn players
9 Gallery
10 See also
11 References
12 External links
Name[edit]
The name "French horn" is found only in English, first coming into use in the late 17th century. At that time, French makers were preeminent in the manufacture of hunting horns, and were credited with creating the now-familiar, circular "hoop" shape of the instrument. As a result, these instruments were often called, even in English, by their French names: trompe de chasse or cor de chasse (the clear modern distinction between trompes, trumpets, and cors, horns, did not exist at that time). German makers first devised crooks to make such horns playable in different keys—so musicians came to use "French" and "German" to distinguish the simple hunting horn from the newer horn with crooks, which in England was also called by the Italian name corno cromatico (chromatic horn).[7] More recently, "French horn" is often used colloquially, though the adjective has normally been avoided when referring to the European orchestral horn, ever since the German horn began replacing the French-style instrument in British orchestras around 1930.[8] The International Horn Society has recommended since 1971 that the instrument be simply called the horn.[9][10]
There is also a more specific use of "French horn" to describe a particular horn type, differentiated from the German horn and Vienna horn. In this sense, "French horn" refers to a narrow-bore instrument (10.8–11.0 mm [0.43–0.43 in]) with three Périnet (piston) valves. It retains the narrow bell-throat and mouthpipe crooks of the orchestral hand horn of the late 18th century, and most often has an "ascending" third valve. This is a whole-tone valve arranged so that with the valve in the "up" position the valve loop is engaged, but when the valve is pressed the loop is cut out, raising the pitch by a whole tone.[11]
History[edit]
Main article: Horn (instrument)
Horn with three Perinet valves
"How to shout and blow horns."—Facsimile of a miniature in a manuscript of the hunting manual of Gaston Phoebus (15th century)
A hunting horn on the insignia of the Danish "Huntsmen Corps" (Jægerkorpset)
As the name indicates, humans originally used to blow on the actual horns of animals before starting to emulate them in metal. This original usage survives in the shofar, a ram's horn, which plays an important role in Jewish religious rituals.
Early metal horns were less complex than modern horns, consisting of brass tubes with a slightly flared opening (the bell) wound around a few times. These early "hunting" horns were originally played on a hunt, often while mounted, and the sound they produced was called a recheat. Change of pitch was effected entirely by the lips (the horn not being equipped with valves until the 19th century). Without valves, only the notes within the harmonic series are available.
Early horns were commonly pitched in B♭ alto, A, A♭, G, F, E, E♭, D, C, and B♭ basso. Since the only notes available were those on the harmonic series of one of those pitches, they had no ability to play in different keys. The remedy for this limitation was the use of crooks, i.e., sections of tubing of differing length that, when inserted, altered the length of the instrument, and thus its pitch.
In the mid-18th century, horn players began to insert the right hand into the bell to change the length of the instrument, adjusting the tuning up to the distance between two adjacent harmonics depending on how much of the opening was covered.
In 1818 the German makers Heinrich Stölzel and Friedrich Blümel patented the first valved horn, using rotary valves. Piston valves were introduced in France about 1839 by François Périnet.[12] Valves were initially intended to overcome problems associated with changing crooks during a performance. Valves' unreliability, musical taste, and players' distrust, among other reasons, slowed their adoption into mainstream. Many traditional conservatories and players refused to use them at first, claiming that the valveless horn, or natural horn, was a better instrument. Some musicians who specialize in period instruments use a natural horn to play in original performance styles, to try to recapture the sound of an older piece's original performances.[13]
The use of valves, however, opened up a great deal more flexibility in playing in different keys; in effect, the horn became an entirely different instrument, fully chromatic for the first time. Valves were originally used primarily as a means to play in different keys without crooks, not for harmonic playing. That is reflected in compositions for horns, which only began to include chromatic passages in the late 19th century.[citation needed] When valves were invented, generally, the French made smaller horns with piston valves and the Germans made larger horns with rotary valves.[clarification needed]
In English, the term "French horn" is often used.[14] Nevertheless, the International Horn Society has recommended since 1971 that the instrument be simply called the horn, despite the ambiguity of the term.[9][10]
Types[edit]
Horns may be classified in single horn, double horn, compensating double horn, and triple horn as well as the versatility of detachable bells.
Single horn in F, student model.
Single horn[edit]
Single horns use a single set of tubes connected to the valves. This allows for simplicity of use and a much lighter weight. They are usually in the keys of F or B♭, although many F horns have longer slides to tune them to E♭, and almost all B♭ horns have a valve to put them in the key of A. The problem with single horns is the inevitable choice between accuracy or tone – while the F horn has the "typical" horn sound, above third-space C accuracy is a concern for the majority of players because, by its nature, one plays high in the horn's harmonic series where the overtones are closer together. This led to the development of the B♭ horn, which, although easier to play accurately, has a less desirable sound in the mid and especially the low register where it is not able to play all of the notes. The solution has been the development of the double horn, which combines the two into one horn with a single lead pipe and bell. Both main types of single horns are still used today as student models because they are cheaper and lighter than double horns. In addition, the single B♭ horns are sometimes used in solo and chamber performances and the single F survives orchestrally as the Vienna horn. Additionally, single F alto and B♭ alto descants are used in the performance of some baroque horn concertos and F, B♭ and F alto singles are occasionally used by jazz performers.
Dennis Brain's benchmark recordings of the Mozart Horn Concerti were made on a single B♭ instrument by Gebr. Alexander, now on display at the Royal Academy of Music in London.
Double horn[edit]
The valves of a Conn 6D double horn. The three lever keys (above the large valves) can be depressed toward the large outer tube. The thumb key (near the left-most valve) moves inward toward the three finger keys.
Scheme of a double horn (view from underneath)
Mouthpiece
Leadpipe, where the mouthpiece is placed
Adjustable handrest
Water key (also called a spit valve)
Fourth valve to change between F and B♭ pitches
Valve levers, operated with the left hand
Rotary valves
Slides, for tuning each valve
Long tubing for F pitch with slide
General slide
Short tubing for B♭ pitch with slide
Bellpipe
Bell; the right hand is cupped inside this
Despite the introduction of valves, the single F horn proved difficult for use in the highest range, where the partials grew closer and closer, making accuracy a great challenge. An early solution was simply to use a horn of higher pitch—usually B♭. The use of the F versus the B♭ horn was extensively debated among horn players of the late 19th century, until the German horn maker Ed. Kruspe (namesake of his family's brass instrument firm) produced a prototype of the "double horn" in 1897.
The double horn also combines two instruments into a single frame: the original horn in F, and a second, higher horn keyed in B♭. By using a fourth valve (usually operated by the thumb), the horn player can quickly switch from the deep, warm tones of the F horn to the higher, brighter tones of the B♭ horn, or vice versa, as the horn player may choose to have the horn set into B♭ by default by making a simple adjustment to the valves.[15] The two sets of tones are commonly called "sides" of the horn. Using the fourth valve not only changes the basic length (and thus the harmonic series and pitch) of the instrument, it also causes the three main valves to use proportionate slide lengths.[16]
In the US, the two most common styles ("wraps") of double horns are named Kruspe and Geyer/Knopf, after the first instrument makers who developed and standardized them. The Kruspe wrap locates the B♭ change valve above the first valve, near the thumb. The Geyer wrap has the change valve behind the third valve, near the little finger (although the valve's trigger is still played with the thumb). In effect, the air flows in a completely different direction on the other model. Kruspe wrap horns tend to be larger in the bell throat than the Geyer wrap horns. Typically, Kruspe models are constructed from nickel silver (also called German silver, an alloy of copper, nickel and zinc, containing no actual silver) while Geyer horns tend to be of yellow brass. Both models have their own strengths and weaknesses, and while the choice of instrument is very personal, an orchestral horn section is usually found to have either one or the other, owing to the differences in tone color, response, and projection of the two different styles.[citation needed]
In Europe the most popular horns are arguably those made by Gebr. Alexander, of Mainz (particularly the Alexander 103), and those made by Paxman in London. In Germany and the Benelux countries, the Alex 103 is extremely popular. These horns do not fit strictly into the Kruspe or Knopf camps, but have features of both. Alexander prefers the traditional medium bell size, which they have produced for many years, whereas Paxman do offer their models in a range of bell throat sizes. In the United States, the Conn 8D, a mass-produced instrument based on the Kruspe design, has been extremely popular in many areas (New York, Los Angeles, Cleveland, Philadelphia). Since roughly the early 1990s, however, for reasons ranging from changing tastes to a general dislike of Conn's newer 8Ds, orchestras have been moving away from the popular Conn 8D. Geyer model horns (by Carl Geyer, Karl Hill, Keith Berg, Steve Lewis, Jerry Lechniuk, Dan Rauch, and Ricco-Kuhn) are used in other areas (San Francisco, Chicago, Pittsburgh, Boston, Houston). The CF Schmidt double, with its unique piston change valve, is occasionally found in sections playing Geyer/Knopf model equipment.[citation needed]
Detachable bell[edit]
The horn, although not large, is awkward in its shape and does not lend itself well to transport where space is shared or limited, especially on planes. To compensate, horn makers can make the bell detachable; this allows for smaller and more manageable horn cases.
Related horns[edit]
Main article: Horn (instrument)
The variety in horn history necessitates consideration of the natural horn, Vienna horn, mellophone, marching horn, and Wagner tuba.
Natural horn[edit]
A natural horn has no valves, but can be tuned to a different key by inserting different tubing, as during a rest period.
Main article: Natural horn
The natural horn is the ancestor of the modern horn. It is essentially descended from hunting horns, with its pitch controlled by air speed, aperture (opening of the lips through which air passes) and the use of the right hand moving around, as well as in and out of the bell.[17] Today it is played as a period instrument. The natural horn can only play from a single harmonic series at a time because there is only one length of tubing available to the horn player. A proficient player can indeed alter the pitch by partially muting the bell with the right hand, thus enabling the player to reach some notes that are not part of the instrument's natural harmonic series – of course this technique also affects the quality of the tone. The player has a choice of key by using crooks to change the length of tubing.
Vienna horn[edit]
Vienna horn
Main article: Vienna horn
The Vienna horn is a special horn used primarily in Vienna, Austria. Instead of using rotary valves or piston valves, it uses the pumpenvalve (or Vienna valve), which is a double-piston operating inside the valve slides, and usually situated on the opposite side of the corpus from the player's left hand, and operated by a long pushrod. Unlike the modern horn, which has grown considerably larger internally (for a bigger, broader, and louder tone), and considerably heavier (with the addition of valves and tubing in the case of the double horn) the Vienna horn very closely mimics the size and weight of the natural horn, (although the valves do add some weight, they are lighter than rotary valves) even using crooks in the front of the horn, between the mouthpiece and the instrument. Although instead of the full range of keys, Vienna horn players usually use an F crook and it is looked down upon to use others, though switching to an A or B♭ crook for higher pitched music does happen on occasion. Vienna horns are often used with funnel shaped mouthpieces similar to those used on the natural horn, with very little (if any) backbore and a very thin rim. The Viennese horn requires very specialized technique and can be quite challenging to play, even for accomplished players of modern horns. The Vienna horn has a warmer, softer sound than the modern horn. Its pumpenvalves facilitate a continuous transition between notes (glissando); conversely, a more precise operating of the valves is required to avoid notes that sound out of tune.
Mellophone[edit]
Main article: Mellophone
Two instruments are called a mellophone. The first is an instrument shaped somewhat like a horn, in that it is formed in a circle. It has piston valves and is played with the right hand on the valves. Manufacturing of this instrument sharply decreased in the middle of the 20th century, and this mellophone (or mellophonium) rarely appears today.
The second instrument is used in modern brass bands and marching bands, and is more accurately called a "marching mellophone" or mellophone. A derivative of the F alto horn, it is keyed in F. It is shaped like a flugelhorn, with piston valves played with the right hand and a forward-pointing bell. These horns are generally considered better marching instruments than regular horns because their position is more stable on the mouth, they project better, and they weigh less. It is primarily used as the middle voice of drum and bugle corps. Though they are usually played with a V-cup cornet-like mouthpiece, their range overlaps the common playing range of the horn. This mouthpiece switch makes the mellophone louder, less mellow, and more brassy and brilliant, making it more appropriate for marching bands. Often now with the use of converters, traditional conical horn mouthpieces are used to achieve the more mellow sound of a horn to make the marching band sound more like a concert band.
As they are pitched in F or G and their range overlaps that of the horn, mellophones can be used in place of the horn in brass and marching band settings. Mellophones are, however, sometimes unpopular with horn players because the mouthpiece change can be difficult and requires a different embouchure. Mouthpiece adapters are available so that a horn mouthpiece can fit into the mellophone lead pipe, but this does not compensate for the many differences that a horn player must adapt to. The "feel" of the mellophone can be foreign to a horn player. Another unfamiliar aspect of the mellophone is that it is designed to be played with the right hand instead of the left (though it can be played with the left). Intonation can also be an issue with the mellophone.[why?]
While horn players may be asked to play the mellophone, it is unlikely that the instrument was ever intended as a substitute for the horn, mainly because of the fundamental differences described.[18] As an instrument it compromises between the ability to sound like a horn, while being used like a trumpet or flugelhorn, a tradeoff that sacrifices acoustic properties for ergonomics.
Marching horn[edit]
The marching horn is quite similar to the mellophone in shape and appearance, but is pitched in the key of B♭, the same as the B♭ side of a double horn. It is also available in F alto, one octave above the F side of a double horn. The marching horn is also played with a horn mouthpiece (unlike the mellophone, which needs an adapter to fit the horn mouthpiece). These instruments are primarily used in marching bands so the sound comes from a forward-facing bell, as dissipation of the sound from the backward-facing bell becomes a concern in open-air environments. Many college marching bands and drum corps, however, use mellophones instead, which, with many marching bands, better balance the tone of the other brass instruments; additionally, mellophones require less special training of trumpeters, who considerably outnumber horn players.[19]
Wagner tuba[edit]
Main article: Wagner tuba
The Wagner tuba is a rare brass instrument that is essentially a horn modified to have a larger bell throat and a vertical bell. Despite its name, it is generally not considered part of the tuba family. Invented for Richard Wagner specifically for his work Der Ring des Nibelungen, it has since been written for by various other composers, including Bruckner, Stravinsky and Richard Strauss. It uses a horn mouthpiece and is available as a single tuba in B♭ or F, or, more recently, as a double tuba similar to the double horn. Its common range is similar to that of the euphonium, but its possible range is the same as that of the horn, extending from low F♯, below the bass clef staff to high C above the treble staff when read in F. These low pedals are substantially easier to play on the Wagner tuba than on the horn. Wagner viewed the regular horn as a woodwind rather than a brass instrument, evidenced by his placing of the horn parts in his orchestral scores in the woodwind group and not in their usual place above the trumpets in the brass section.
Repertoire[edit]
Paxman horns
See also: List of compositions for horn
Discussion of the repertoire of horns must recognize the different needs of orchestras and concert bands in contrast to marching bands, as above, but also the use of horns in a wide variety of music, including chamber music and jazz.
Orchestra and concert band[edit]
The horn is most often used as an orchestral and concert band instrument, with its singular tone being employed by composers to achieve specific effects. Leopold Mozart, for example, used horns to signify the hunt, as in his Jagdsinfonie (hunting symphony). Telemann wrote much for the horn, and it features prominently in the work of Handel and in Bach's Brandenburg Concerto no. 1. Once the technique of hand-stopping had been developed, allowing fully chromatic playing, composers began to write seriously for the horn. Gustav Mahler made great use of the horn's uniquely haunting and distant sound in his symphonies, notably the famous Nachtmusik (serenade) section of his Symphony No. 7.
Many composers have written works that have become favorites in the horn repertoire. These include Poulenc (Elegie) and Saint-Saëns (Morceau de Concert for horn and orchestra, op. 94 and Romance, op. 36). Others, particularly Wolfgang Amadeus Mozart, whose friend Joseph Leutgeb was a noted horn player, wrote extensively for the instrument, including concerti and other solo works. Mozart's A Musical Joke satirizes the limitations of contemporary horn playing, including the risk of selecting the wrong crook by mistake.
The development of the valve horn was exploited by romantic composers such as Bruckner, Mahler, and Richard Strauss, whose father was a well-known professional horn player. Strauss's Till Eulenspiegel's Merry Pranks contains one of the best known horn solos from this period, relying on the chromatic facility of the valved horn. Schumann's Konzertstück for four horns and orchestra is a notable three-movement work. Brahms had a lifelong love-affair with the instrument, with many prominently featured parts throughout his four symphonies. However players today typically play Brahms on modern valved instruments.
Chamber music[edit]
There is an abundance of chamber music repertoire for horn. It is a standard member of the wind quintet and brass quintet, and often appears in other configurations, such as Brahms' Horn Trio for violin, horn and piano (for which, however, Brahms specified the natural horn). Also, the horn can be used by itself in a horn ensemble or "horn choir". The horn choir is especially practical because the extended range of the horn provides the composer or arranger with more possibilities, registerally, sonically, and contrapuntally.
Orchestral and concert band horns[edit]
A horn section in a military concert band
A classical orchestra usually has at least two French horn players. Typically, the first horn played a high part and the second horn played a low part. Composers from Beethoven (early 1800s) onwards commonly used four horns. Here, the first and second horns played as a pair (first horn being high, second horn being low), and the third and fourth horns played as another pair (third horn being high, fourth horn being low).
Music written for the modern horn follows a similar pattern with the first and third horns being high and the second and fourth horns being low. This configuration serves multiple purposes. It is easier to play high when the adjacent player is playing low and vice versa. Pairing makes it easier to write for horns, as the third and fourth horns can take over from the first and second horns or play contrasting material. For example, if the piece is in C minor, the first and second horns might be in C, the tonic major key, which could get most of the notes, and the third and fourth horns might be in E♭, the relative major key, to fill in the gaps.
Many orchestral horn sections in the 2010s also have an assistant[20] who doubles the first horn part for selected passages, joining in loud parts, playing instead of the principal if there is a first horn solo approaching, or alternating with the principal if the part is tiring to play.[21] Often the assistant is asked to play a passage after resting a long time. Also, he or she may be asked to enter in the middle of a passage, exactly matching the sound, articulation, and overall interpretation of the principal, thus enabling the principal horn to rest a bit.
In jazz[edit]
See also: Category:Jazz horn players and French horn in jazz
The French horn was at first rarely used in jazz music (Note that colloquially in jazz, the word "horn" refers to any wind instrument). Notable exponents, however, began including French horn in jazz pieces and ensembles. These include composer/arranger Gil Evans who included the French horn as an ensemble instrument from the 1940s, first in Claude Thornhill's groups, and later with the pioneering cool jazz nonet (nine-piece group) led by trumpeter Miles Davis, and in many other projects that sometimes also featured Davis, as well as Don Ellis, a trumpet player from Stan Kenton's jazz band. Notable works of Ellis' jazz French horn include "Strawberry Soup" and other songs on the album Tears of Joy. Notable improvising horn players in jazz include Julius Watkins, Willie Ruff, John Graas, David Amram, John Clark, Vincent Chancey, Mark Taylor, Giovanni Hoffer, Arkady Shilkloper, Adam Unsworth, and Tom Varner.
Notable horn players[edit]
See also: List of horn players
Hermann Baumann – 1964 winner of the ARD International Music Competition and former principal horn in various orchestras, including the Stuttgart Radio Symphony Orchestra
Radek Baborák – famous Czech horn player, former principal horn in Berlin Philharmonic Orchestra, 1994 winner of the ARD International Music Competition, winner of the Concertino Praga in 1988 and 1990, holder of a Grammy Award (1995)
Aubrey Brain – celebrated British horn player, father of Dennis Brain and a champion of the French style of instrument
Dennis Brain – former principal horn of the Royal Philharmonic Orchestra and the Philharmonia Orchestra, with whom Herbert von Karajan made well-known recordings of Mozart's horn concertos
Alan Civil – former principal horn of the Philharmonia Orchestra, the Royal Philharmonic Orchestra, and the BBC Symphony Orchestra
John Cerminaro – former principal horn of the Seattle Symphony, New York Philharmonic, and Los Angeles Philharmonic
Dale Clevenger – former principal horn of the Chicago Symphony Orchestra (1966–2013)
Vincent DeRosa – former principal horn for a number of Hollywood studios and composers including John Williams
Richard Dunbar – a player of the French horn, playing in the free jazz scene
Philip Farkas – former principal horn of the Chicago Symphony Orchestra, developer of the Holton-Farkas horn and author of several books on horn and brass playing
Douglas Hill – former principal horn of the Madison Symphony Orchestra, notable teacher and composer
Philip Myers – principal horn of the New York Philharmonic since 1980
Jeff Nelsen – Canadian Brass hornist 2000–2004, 2007–2010; Indiana University Jacobs School of Music horn faculty since 2006
Giovanni Punto – horn virtuoso and hand-stopping pioneer, after whom the International Horn Society's annual horn playing award is named, also a violinist, concertmaster, and composer
David Pyatt – winner of the BBC Young Musician of the Year competition in 1988 and current principal horn of the London Philharmonic Orchestra
Gunther Schuller – former principal horn of the Cincinnati Symphony Orchestra and Metropolitan Opera Orchestra, and played with Miles Davis
Barry Tuckwell – former principal horn of the London Symphony Orchestra and author of several books on horn playing
Radovan Vlatković – 1983 winner of the ARD International Music Competition, former principal horn and soloist of the Berlin Radio Symphony Orchestra, and professor at the Mozarteum University of Salzburg
William VerMeulen – internationally renowned horn soloist and former principal horn of Honolulu Symphony Orchestra current principal Horn of the Houston Symphony Orchestra and professor at Rice University reputed[who?] to have the highest placement rating of his students in American Orchestras
Stefan Dohr – current principal horn, Berlin Philharmonic Orchestra
Stefan de Leval Jezierski – longest serving horn, Berlin Philharmonic Orchestra
People who are more notable for their other achievements, but also play the horn, include actors Ewan McGregor and David Ogden Stiers, comedian and television host Jon Stewart, journalist Chuck Todd, The Who bassist and singer John Entwistle, and rapper and record producer B.o.B.[22]
Gallery[edit]
A common double horn
A Vienna horn
A hunting horn
A French Omnitonic horn
A natural horn at the Victoria and Albert Museum in London
A replica of a Mozart era natural horn
A hunting horn in E♭
A natural horn
An older, French-made cor à pistons in E♭
A French-made horn with piston valves
A modern horn
A horn by Alexander, once owned by Dennis Brain
See also[edit]
List of compositions for horn
List of horn makers
List of horn techniques
References[edit]
Jump up ^ Walter Piston, Orchestration (New York: W. W. Norton & Company, Inc., 1955):[page needed]. ISBN 0-393-09740-4
Jump up ^ The background of the purpose in left-handed operation is murky, but may have arisen from the desirability to leave the right hand free to hold a weapon or the reins of a horse. Nonetheless, in view of the right-handed operation of most instruments, the horn offers left-handed players, including children who begin learning an instrument in the early years of school, a way to capitalize on their left-hand dominance, much as baseball favors left-handedness at pitcher and first base.
Jump up ^ Scott Whitener and Cathy L. Whitener, A Complete Guide to Brass: Instruments and Pedagogy (New York: Schirmer Books, Maxwell McMillan; Toronto: Collier Macmillan Canada, 1990): pp. 40, 44. ISBN 9780028728612; ISBN 9780028730509.
Jump up ^ "Alexander 107 Descant w/Stopping Valve - $7800". Pope Instrument Repair. Retrieved 2018-02-22.
^ Jump up to: a b Farkas, Philip (1956) The Art of French Horn Playing p. 21
Jump up ^ Farkas, Philip (1956) The Art of French Horn Playing p. 65
Jump up ^ Jennifer Beakes, "The Horn Parts in Handel's Operas and Oratorios and the Horn Players Who Performed in These Works", DMA diss. (New York: The City University of New York, 2007): 50, 116–18, 176, 223–25, 439–40, 444–45.
Jump up ^ Norman Del Mar, Anatomy of the Orchestra, illustrated reprint, revised (Berkeley and Los Angeles: University of California Press, 1983): 215. ISBN 978-0-520-05062-4; Renato Meucci and Gabriele Rocchetti, "Horn", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
^ Jump up to: a b "Harold Meek (1914–1998)". Retrieved 2012-12-23. Harold Meek is described by everyone as a gentleman, a perfectionist, and one who loved the horn. He was the first editor of The Horn Call and was responsible for this statement in every issue, 'The International Horn Society recommends that HORN be recognized as the correct name for our instrument in the English language.'
^ Jump up to: a b Meek, Harold (February 1971). "The Horn!". The Horn Call. International Horn Society. 1 (1): 19–20. Meek strongly advocates using the term 'horn' rather than 'French horn.'
Jump up ^ Anthony Baines, Brass Instruments: Their History and Development (London: Faber and Faber, 1976): pp. 221–23. ISBN 0-684-15229-0.
Jump up ^ Harold L. Meek, Horn and Conductor: Reminiscences of a Practitioner with a Few Words of Advice, with a foreword by Alfred Mann (Rochester: University of Rochester Press, 1997): p. 33. ISBN 978-1-878822-83-3.
Jump up ^ See, e.g., the performance of Johann Sebastian Bach's Mass in B Minor as performed by the Proms of London in the movement from 45:40 onward in "Mass in B Minor". You Tube. 2012. Retrieved 2013-11-29.
Jump up ^ "Horn". The American Heritage Dictionary of the English Language (5th ed.). Boston: Houghton Mifflin Harcourt. 2014.
Jump up ^ There is no citation as it is a "normal" part of horn playing that players decide on early and almost never if ever change in their lifetime, so it is never discussed past "what is your horn set in?" as a conversation topic. http://gebr-alexander.de/en/portfolio-item/fbb-double-horn-%C2%B7-model-103/ shows the key can be either F/Bflat or Bflat/F, and this can be changed by simply moving the lever at the valve from the lower position (where it is in the picture now) to the upper hole, which is visible in the image.
Jump up ^ Backus, John, The Acoustical Foundations of Music, 2nd ed. (New York: W. W. Norton, 1977),[page needed] ISBN 0-393-09096-5.
Jump up ^ Tiny movements may be used to achieve greater accuracy on some notes, for example the written D (possibly sounding as something else depending on the crook) on the 4th line of the stave. Video source: Anneke Scott is arguably the most well known Natural Horn specialist in the UK and Ireland. The tiny movements of her right hand can be seen clearly here without her having to "take her hand in and out" https://youtu.be/fk9RmouFQik
Jump up ^ Monks, Greg (2006-01-06). "The History of the Mellophone". Al's Mellophone Page. Retrieved 2008-07-29.
Jump up ^ Mellophones, as indicated, use the same fingering as trumpets and are operated by the right hand.
Jump up ^ Erickson, John. "Horn Sections With and Without an Associate Principal" 28 March 2010. Retrieved 14 January 2012
Jump up ^ Bacon, Thomas. "The Horn Section" Archived March 4, 2016, at the Wayback Machine. Retrieved 14 January 2012
Jump up ^ Rees, Jasper (2009). A Devil to Play. HarperCollins.
External links[edit]
Wikibooks has a book on the topic of: Horn/Repertoire
Wikibooks has a book on the topic of: Horn
Wikisource has the text of the 1911 Encyclopædia Britannica article Horn (class of wind instruments).
Homepage of the International Horn Society, one of the largest organizations of horn players in the world.
British Horn Society, UK-based organisation for horn playing
First steps of making a horn by hand (QuickTime Movie) at Finke Horns
From mines to music: The venerable valve, by musicologist Edmund A. Bowles
Horn maintenance at Paxman, compiled with the assistance of Simon de Souza
How to dismantle a valve at Finke Horns
Horn Etudes - List of horn etudes
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https://sh.wikipedia.org/wiki/Horna
Horna – Serbo-Croatian
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sh
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values:
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values:
https://sv.wikipedia.org/wiki/Valthorn
Valthorn – Swedish
sv
sv
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values: ฮอร์น – Thai

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values:
https://tr.wikipedia.org/wiki/Korno
Korno – Turkish
tr
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values: Валторна – Ukrainian

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https://wa.wikipedia.org/wiki/C%C3%B4r
Côr – Walloon
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