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The Valveless Horn in Modern Performances of Eighteenth-Century Music

Published online by Cambridge University Press:  01 January 2020

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Extract

In recent years the study of musical instruments and their history has become an accepted feature of modern research, and the performance of earlier music upon the instruments appropriate to its period is now a familiar part of our musical life. Especially during the last decade, the revival of instrumental works from the Renaissance and Baroque periods has stimulated great interest in historically accurate performances; and more recently this concern for using authentic instruments or good modern copies suitable to the music in question has spread to the Classical period as well. Thus in an age when so much attention has been paid to the instruments of the Baroque and Classical orchestra, it is surprising to find that the horn is still very much of an enigma. Even in otherwise authentic performances with eighteenth-century instruments, original or copied, it is still common to hear the modern valve horn in all its chromatic self-assurance.

Type
Research Article
Copyright
Copyright © 1965 The Royal Musical Association and the Authors

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References

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27 See Gassner, Ferdinand, Universal-Lexicon der Tonkunst, Stuttgart, 1847. The dimensions upon which I have based my reconstruction of Thürrschmidt's mute are to be found in Edward Bernsdorf, Neues Universal-Lexicon der Tonkunst, Dresden, 1856, p. 646. I must thank Mr. Andrea Goble, of Robert Goble and Co., for supplying the seasoned acacia wood from which this mute was made. Additional notes on the valveless horn, by the author, are to be found in the RMA Research Chronical, III, 1966.Google Scholar