Louis Stout (1924-2005)

Louis StoutLouis Stout was a highly-regarded orchestral player (he never lost an audition), a revered teacher with scores of successful students, and a renowned collector of brass instruments. He had inexhaustible energy and curiosity, learned solfège early, memorized all the horn excerpts, and was always willing to share his expertise and stories. His teachers were Elaine Kessler, Marvin Howe, Mason Jones, and Robert Schultz.

Louis was born in 1924 in Hallisport NY, a village of 75 people with a two-room schoolhouse. There he studied piano with a fine teacher, learned solfège, and developed a love for literature and the arts that led to his vast collection of books, music, recordings, and instruments. He learned to play the trumpet, trombone, violin, clarinet, and guitar in high school, taking up the horn as a high school sophomore.

By the age of ten, Louis was listening to the Chicago Symphony on the radio. He vowed that he would one day play in the orchestra, a vow that he was able to fulfill. During high school, a friend died and the friend's mother asked Louis to play for her son. Many times over the years, Louis would face difficult solo passages with a sense of perspective that made the passages less important than other elements of life.

Louis graduated from high school at age 15 and spent most of the following year playing horn solos with a pianist friend. Then he enrolled at Ithaca (NY) College, where his horn teacher made a major change in his embouchure, which he later said was the best thing for his career even though it was difficult at the time. It was also at college that his teacher insisted he learn the B-flat side of the horn, and he became primarily a player of the B-flat horn. During his junior year, Louis borrowed money to buy his first "professional" horn, a 45-year-old Schmidt that he later said was the best horn he ever owned, and played an audition for first horn in the New Orleans Symphony. He had won the audition and signed the contract when it was discovered that he was not a union member; however, the manager wanted Louis enough to arrange the necessary membership.

In New Orleans, Louis learned to fly an airplane and found his wife, flutist Glennis Metz. The orchestra season was only 20 weeks, so Louis toured with the North Carolina Symphony and played with the Virginia Symphony for additional income. After two years, he went to New York City and joined the orchestra at Radio City Music Hall. In 1950, when a new conductor took over and brought his own players, Louis went back to Ithaca College to finish his bachelor's degree. During his senior year, he taught all the horn students plus other brass students and became a flute major (since he couldn't teach himself), playing his wife's flute.

Ithaca College wanted Louis to continue teaching, but he need more income to support his family and took a job with Kansas City. After four years, with a growing family, Louis was looking for an orchestra with a longer season. He auditioned for Chicago and got a contract as associate principal for a 36-week season and a salary of $100 more per week. He asked to take lessons from Philip Farkas, the first horn and his idol. He was refused but felt that he got his lessons by sitting next to his "teacher" in the orchestra.

Louis played in Chicago for five years (1955-1960) under Reiner, then applied for a position at the University of Michigan at Ann Arbor. At the audition, he played from memory for two hours and was accepted in spite of not having a master's degree. He taught at Michigan for 28 years, and was known as a demanding teacher, with a thorough and tough regimen, combined with fatherly concern. Even after retirement, he taught privately.

During his Chicago and Michigan years, Louis acquired an amazing collection of instruments, with which he toured the US and Europe in a lecture/demonstration called "The Horn: from the Forest to the Concert Hall." The collection is one of the largest private collections in the world and is now in the Franz Streitweiser's Trumpet and Horn Museum at Schloss Kremsegg in Linz, Austria. Louis's interest in historical horns led to his pioneering use of natural, single B-flat, and descant horns for early music performance.

Louis served on the Fulbright committee, and he and Glennis taught in Taiwan for two years on a Fulbright grant after his retirement. Louis participated in many IHS symposiums, often surrounded by adoring students. He was given the Punto award in 1991 and was elected an Honorary Member in 2005.

A tribute to Louis appears in the October 1989 issue of The Horn Call and a remembrance in the February 2006 issue.

photo courtesy of Holton

Willem A. Valkenier (1887-1986)

valkenier

Valkenier is recognized as one of the "founding fathers" of horn-playing in the United States. He came from the European (Czech and German) tradition, and his tenure in Boston influenced players and his many students.

Valkenier was born in 1887 in Rotterdam, The Netherlands. He had piano lessons as a child and started horn with a military clarinetist, who, when Valkenier was 14, sent him to Edward Preus. Preus was a natural horn player from Bohemia (Czechoslovakia) who had played first horn in a German opera company in Rotterdam and settled there. He was a strict taskmaster, sparing with praise, who taught the Czech cantabile tradition.

After two years studying with Preus, Valkenier started playing in a vaudeville theater orchestra. In the summer, he played in a Civil Guard symphonic band with Preus playing first horn, a continuation of his education. His first major professional job was third horn in a symphony orchestra in Gronignen (Netherlands), then a year as first horn in Haarlem. Wanting a better living than he could attain in the Netherlands, he found a job as first horn in the Collegium Musicum in Winterthur, Switzerland. After a year, he saw an advertisement for first horn in Breslau (Silesia, later part of Poland), a larger city, where he won the job and got an excellent grounding in opera.

Valkenier applied for a summer engagement in Bad Kissingen, Germany, where the Konzertverein Orchestra from Vienna played. After he had performed the Aria from the Bach B Minor Mass, Valkenier was offered the permanent first horn position; the orchestra bought out the remainder of his Breslau contract. In Vienna, Valkenier played a lot of Mahler (Mahler had died the year before) as well as chamber music. World War I wreaked havoc with the orchestras in Vienna, so in 1914 Valkenier found a position as first horn with the Berlin State Opera, where he stayed nine years and played under Furtwangler and Richard Strauss, among others.

In 1923, Valkenier, a pacifist and still a Dutch citizen, began to see that conditions in Germany were going to "go wrong" in response to the Treaty of Versailles that ended World War I. He was friendly with cellist Pablo Casals and considered settling in Barcelona, but finally decided to try America. Valkenier talked with conductors in New York and Chicago, but both had six-month union waiting periods, so he went to Boston (a non-union orchestra until 1942) as first horn of the second horn section.

Valkenier was a member of the Boston Symphony Orchestra from 1923 to 1950. His first year was under Pierre Monteux, then Koussevitsky took over for 25 years. Around 1950, Valkenier started having trouble with his teeth and so decided to stop playing. He had not liked playing under Koussevitsky, so he stayed long enough to play a season under Charles Munch.

While in Boston, Valkenier delighted in performing chamber music, in both professional engagements and informal pick-up sessions with his colleagues in the BSO or with visiting artists such as Arthur Schnabel, Arnold Schoenberg, and Paul Hindemith. He also played viola and cello parts on his horn.

Valkenier taught many students at New England Conservatory during his BSO tenure and others on Cape Cod during his retirement. He had high standards and insisted on everything being played correctly, but he was also gentle and encouraging, and he was an advisor and confidant to his students, taking a paternal interest in them.

Valkenier started playing on a hand horn, then a Slot single horn. His first double horn was a Kruspe, and the second a Schmidt. Later he used a Kruspe single B-flat horn for operas and a Schmidt single high F horn for high Bach cantatas.

Valkenier was elected an Honorary Member in 1971. A profile of him appears in the October 1983 issue of The Horn Call, a memoriam in the October 1986 issue, and a transcription of an interview in the February 1994 issue. Additional photos of Boston Symphony Orchestra sections appear in the April 1988 issue.

James Winter (1919-2006)

winterJames Winter loved teaching. In addition to horn, he taught music theory, history, conducting, brass instruments, and brass pedagogy, and he always saw music in a broad context. He helped steer the IHS in the early years as editor. As president, he started the composition contest and oversaw the first international symposium in Detmold, Germany. In personality, he was warm and witty, with an engaging way of conveying musical concepts.

Jim was born in 1919 in Minneapolis. His family moved several times during his youth, but Jim fortunately had good music teachers. He started on cornet in sixth grade and moved to mellophone in seventh grade and horn in his junior year in Kansas City, where he had group horn lessons with Philip Farkas. He attended Carleton College (Northfield MN, near Minneapolis), where he eventually decided to make a career of teaching. He studied horn with J. Harris Mitchell, and also with William Muelbe of the Minneapolis Symphony.

Jim served in the US Navy in the Pacific Theater from 1942-1946 on combat duty. Afterwards, he earned a master's degree in music history, literature, and musicology at Northwestern University, where he studied horn with Max Pottag. He was encouraged to play horn professionally, but he was intent on a teaching career.

Jim accepted a teaching position at Fresno State College in 1947 and stayed for 40 years, rising from instructor to professor and through two administrative stints to Outstanding Professor and the University's Grand Marshall. From 1948-1968, he led the brass program; the brass choir was the outstanding ensemble of its kind on the West Coast and the students comprised "the sturdy anchor" of the Fresno Philharmonic during those years. Many students attended Fresno State (now California State University at Fresno) in order to study with Jim. His students included David Bakkegard (Baltimore) and David Krehbiel (San Francisco, also an IHS Honorary Member). Jim considered his students "'my' students in a very real sense" and took pride in the memory of them and their accomplishments, not only as horn players, but in many professions.

In 1954, Jim took a leave of absence to earn a PhD in composition (Philip Geeley Clapp and Philip Bezanson), brass pedagogy, and philosophy at the University of Iowa. His compositions include Suite for a Quartet of Young Horns and Canon for Two Horns.

Jim's playing career included principal horn of the Fresno Philharmonic from 1954 and assistant conductor from 1980 to 1997, principal horn of the American Symphony Orchestra League West Coast Workshop Orchestra for ten years, principal horn and soloist of Music from Bear Valley (1970-1982), and hornist with the California Woodwind Quintet.

Jim was an active editor and author. He was horn editor of Woodwind World for ten years and brass editor of the NACWPI Journal for five years. In addition to many articles in The Horn Call and The Instrumentalist, he published a brass method, The Brass Instruments (Alyn & Bacon).

Jim played Geyer horns and often took an extra horn to engagements in case someone else's horn malfunctioned. He advocated using the F side up to C in the treble staff, and in later years warmed up on a Schmidt single F horn.

Jim's support of the IHS is inestimable. He was Editor of The Horn Call (1972-1976), IHS Advisory Council member (1972-1976 and 1981-1987), and IHS President (1983-1986). He was elected an Honorary Member in 1998.

Tributes to Jim appear in the October 2006 issue of The Horn Call, announcement of his election as an Honorary Member in the November 1998 issue, and a biography on the occasion of his retirement in the October 1987 issue. The James H. Winter Memorial Brass Scholarship has been established in his honor at California State University Fresno.

Herbert Holtz (1894-1980)

holtz.jpgHerbert Holtz devoted his life to music and teaching, and to his native Hartford CT. He is remembered as a gentle and modest man who was also a hornist of the highest quality. He came out of retirement to play the obbligato part in Mahler's Fifth Symphony.

At age 15, Holtz played trumpet in the governor's Foot Guard Band, but switched to horn because he was told the opportunities would be greater. He studied horn with Joseph Franzl, who traveled from New York to play with the Hartford Symphony (then called the Hartford Philharmonic).

A superb pianist, Holtz first earned his living playing for silent movies and teaching piano. Later he became principal horn in the Hartford, Springfield, and New Haven symphony orchestras. He was principal horn when the Harford Symphony Society launched the orchestra's first season in 1938, one of the musicians who offered their services gratis for a year to help the newly-formed orchestra get off the ground.

In the early 1940s, Holtz played extra horn with the Boston Symphony. He passed up an opportunity to play full time with the orchestra because he preferred his native Hartford. He taught horn at the Harford Conservatory and Hartt College and gave piano lessons into his retirement.

Holtz had a beautiful liquid tone, and his intonation, accuracy, and musicianship were always of the highest standards.

He retired from playing in 1967, but returned to play the obbligato part of Mahler's 5th Symphony with the Hartford Symphony - and impeccable performance and just months before his 74th birthday.

Holtz was elected an IHS Honorary Member in 1974. A tribute appears in the April 1981 issue of The Horn Call.

Marvin Howe (1918-1994)

The Singer of Smooth Melodies
by Randall E. Faust

Excerpted from an article appearing in The Horn Call XXVI, no. 3 (May 1996): 27-36.
photos courtesy of the Office of Public Information at Eastern Michigan University



howe2.jpg"Believing as I do that the horn is best as a singer of smooth melodies, I have laid heavier stress on legato playing than is usual in most beginning brass methods." [Foreword--Method for French Horn--Marvin C. Howe, Remick--MPH, New York, 1950.]

"...and an older teacher, Marvin Howe, showed that music is more than mere notes with a moving performance of Saint-Saens "Romance". ["19th Annual Horn Symposium," British Horn Society, Summer Newsletter 1987, John N. Wates]

Marvin Howe, this singer of smooth melodies, was born February 26, 1918, in Fort Wayne, Indiana. He was educated in the public schools and graduated from Harding High School in Marion, Ohio in 1935. A lifelong scholar, Marvin's collegiate studies began at the Oberlin Conservatory--where he was the first person to earn a Bachelor of Music degree in Horn in 1939. He also earned from Oberlin his bachelor's degree in School Music in 1940, (Phi Kappa Lambda). A college roommate at Oberlin--Fred Myers--later became the father of the Principal Hornist of the New York Philharmonic--Philip Myers. His horn teacher at Oberlin was a member of the Cleveland Orchestra--William Namen. Also, he was influenced by other members of the Cleveland Orchestra at that time--Martin Morris and Philip Farkas.

After college, his early career was teaching instrumental and vocal music in public schools in Lexington, Ohio, and Glens Falls, New York, before volunteering to serve in World War II. He was a band director in the U.S. Army--serving as a warrant officer at the Army Music School in Arlington, Virginia, and also in the European sector until 1945. During the time Dr. Howe was in the Army, he was stationed at Fort Benning, Georgia, before being sent to Europe. Before entering the Army, Dr. Howe did graduate work at the University of Michigan (1941). However, after returning from Europe, he studied at the Juilliard School of Music and Columbia University in New York City in 1946. While at Juilliard, he studied with New York Philharmonic hornist Robert Schulze.

From 1946 to 1948, Professor Howe taught horn and brass instrument pedagogy at Ithaca College, while completing his Master of Science in Music Education there in 1948. At Ithaca, he worked with trumpeter and brass pedagogue Walter Beeler. Marvin's Method for French Horn was begun at that time-and he often credited Beeler-who was writing his Method for Cornet at the same time-as a particularly helpful consultant. From 1948-1953, he taught at The University of Illinois. As an important center for the study of contemporary music, The University of Illinois brought him into contact with several prominent composers. He performed works such as the Paul Hindemith's Sonata for Horn and Piano (1939) and the Igor Stravinsky's Dumbarton Oaks Concerto under their direction there. The Maine Sketches for Horn and Piano (1952) by Eugene Weigel was inspired by Weigel's hearing Marvin's low register exercises in a nearby studio!

After taking a year off to take care of the family farm in Ohio, Marvin moved his family to Cedar Falls, Iowa, where he became an Instructor of Music at Iowa State Teachers College. In addition to teaching horn, brass instruments, and pedagogy, Marvin toured the State of Iowa as a consultant for music teachers. A performance with George Waln's Woodwind Quintet on a Post-Camp NACWPI Conference at Interlochen, Michigan in 1956, led to his employment at The National Music Camp in 1957. Soon, Interlochen became the summer home for his wife-Arline Howe, his daughters-Nancy and Peggy, and his son Michael. While teaching at the National Music Camp, Dr. Howe touched the lives of many students who are now performing in major symphony orchestras, teach in major universities, and actively support the fine arts throughout the world.

From 1960-1962, he did further graduate work at The University of Iowa. After completing is Master of Fine Arts Degree and residency for the Ph.D., he was appointed Principal Hornist of the Syracuse Symphony and Professor at Syracuse University in New York. The next year, he accepted an invitation to return to teaching at Ithaca College in Ithaca, New York. At both Ithaca and Syracuse, he performed as a hornist with the faculty quintets.

howe1.jpgNineteen sixty-six was an important year for Professor Howe for two reasons: first, he completed the final dissertation requirements for the Ph.D. at The State University of Iowa (his dissertation, "A Critical Survey of Literature, Materials, Opinions and Practices as Related to the Teaching of the French Horn," stands as an important survey of horn teaching today--and an important critique of the state of horn pedagogy as of 1966) and second, he moved to Michigan to teach at Eastern Michigan University. The State of Michigan, then, became his home--teaching at Interlochen during the summers and at Eastern Michigan University during the winter months. Upon retirement in 1979, he moved to Interlochen, and then finally to Traverse City in 1993.

Dr. Howe loved to teach! Whenever the opportunity would present itself, he would be there. When his friend Philip Farkas had a heart attack in 1978, he flew to Bloomington, Indiana, on weekends to make sure the students received their lessons. Later, in 1982, he taught for James Winter at the California State University-Fresno during Dr. Winter's sabbatical leave. Later, when officially "retired", he would give clinics, lectures, and recitals, as well as conducting the horn choir at Interlochen. His energy was remarkable!

Marvin was an active and avid member of The International Horn Society. In addition to contributing to The Horn Call, he served on The Advisory Council, and performed and/or presented clinics at International Horn Workshops in Canada (1975), Provo, Utah (1987), Potsdam, New York (1988) and Texas (1991). In 1990, he was honored with the Society's Punto Award, and in 1994, he was elected to Honorary Membership in the International Horn Society. However, as much as his "official" duties, he enjoyed the camaraderie of the workshops and the chance to be a participant. He and his wife Arline provided support to performers, encouragement to exhibitors, and fellowship to hornists young and old alike. Workshop cafeteria meals were a time to meet friends and revel in the development of his many former students. In addition to the opportunity to see colleagues and hear former students, he relished the chances provided by workshops to learn new truths, rediscover old truths, and to affirm important values. Some of these are documented in his Horn Call article: "Thoughts Triggered by the 1993 IHS Convention, Charleston, Illinois."

In 1988, the Marvin Howe Horn Scholarship Endowment Fund was created by former students of Dr. Howe. Those interested in contributing to this fund in honor of Dr. Howe may contact the Director of Advancement, Interlochen Center for the Arts, Interlochen, Michigan 49643.

MARVIN C. HOWE
Writings for and about the Horn


Pedagogical Materials

  • Method for French Horn, Remick Music Co. New York, 1950. Reprinted by Marvin Howe--available from Mrs. Howe, 6443 Mission Ridge, Traverse City, Mi 49686
  • Ph. D. Dissertation--A Critical Survey of Literature, Materials, Opinions, and Practices and Related to the Teaching of the French Horn (1966), University of Iowa.
  • Notes on the Horn --1967 published in The Horn Call XXII, no. 2 (1992): 53-55.
  • Stopped Horn-- (1968) Treatise. Excerpt published in The Horn Call IV, no. 1 (1973): 19-24.
  • Refinement of Tone Quality--paper presented at the 23rd IHS Symposium, University of North Texas, 1991.
  • Thoughts Triggered by the 1993 IHS Convention, Charleston, Illinois. The Horn Call XIV, no. 1: 75-76.
  • Howe's Handy Hints for Stopped Horn--Unpublished article.
  • Method for Horn-- Volume 2. Unpublished.


MUSIC-- Published Arrangements and Transcriptions

  • Das Signpost --Franz Schubert arranged for Horn Quartet (The Hornist's Nest)
  • Die Zwei Blauen Augen-- Gustav Mahler arranged for horn ensemble (The (Hornist's Nest)
  • Divertimento No. 8--W.A. Mozart arranged for Horn Quartet published by Southern Music Co.
  • Exaudi Deus--Orlando di Lasso arranged for Horn Quartet published by Southern Music Co.
  • Finale-Viennese Sonatina No. 6--W.A. Mozart trans. for Horn Trio (The Hornist's Nest)
  • Ihr Bild--Franz Schubert arranged for Horn Quartet (The Hornist's Nest)
  • Largo from the Violin Concerto in a minor-Vivaldi transcribed for Horn and Piano (Encore Music)
  • Madrigals arr for Horn Quartet 2 volumes--(The Hornist's Nest)
  • Madrigals for Brass Sextet (Elkan Vogel)
  • Quando Corpus--G. Rossini arranged for Horn Quartet (McCoy's Horn Library)
  • Seventeen Horn Duets--(Hornist's Nest) presented at the International Horn Workshop 1975
  • Someone's Horse is Standing There--Russian Folk Song arranged for horn quartet (The Hornist's Nest)
  • Three Tuba Solos-- (Lawson and Gould Co.)

MUSIC-- Unpublished Arrangements and Transcriptions

  • Andante Cantabile-Pinsutti arranged for Horn Quartet
  • Cherubim Song-Bortiansky arranged for Horn Quartet
  • Collected Solos --arr. for Horn and Piano
  • Horn Quartets--A Baker's Dozen
  • Sarabande from the Holberg Suite--Edvard Grieg arranged for Horn Quintet

MUSIC written for, premiered by or dedicated to Marvin C. Howe

  • Elegy and Caprice for Horn and Piano (1994) by William Presser
  • Maine Sketches for Horn and Piano (1952) by Eugene Weigel
  • Night Watch for Horn, Flute, and Timpani (1943) by Ellis B. Kohs
  • "Prelude/Nocturne" from Concerto for Horn and Wind Ensemble (1987) by Randall E. Faust
  • Prelude for Horn Alone (1974) by Randall E. Faust
  • Sonatina for Horn and Piano (1978) by William Presser

Fritz Huth (1908-1980)

huth.jpgFritz Huth entered 10 solo competitions in his lifetime and won them all. He held important orchestra and teaching positions, and many of his students hold principal horn positions in major orchestras.

Huth was principal horn with the Dresden Staatskapelle and Hamburg State Opera (1949-1958). He was a member of Bayreuth Festival orchestras for 35 years. He also was highly regarded as a soloist and chamber musician. His solo tours took him to Africa as well as the Soviet Union and throughout Europe.

Huth taught first at the Music Academy in Detmold and then for 36 years at the Bavarian State Conservatory Würzburg. Among his students are Hermann Baumann and Peter Hoefs. Hoefs was his last student (1970-72) and comments that Huth was one of those musicians whose best years were lost in World War II.

Huth was involved in the Mozart Festival in Würzburg and was awarded a Gold Mozart Medal for his activities there.

Publications include Schule für Horn (Method for Horn), Vorschulübungen (Preparatory Studies) and Tonleiter-Studien (Scale Studies). His method is described: "By means of this systematic, slow, step by step method, it is possible for the beginner to reach his goal as quickly and as surely as possible."

Huth was elected an IHS Honorary Member in 1980, shortly before his death. A tribute appears in the October 1980 issue of The Horn Call.

Anton Horner (1877-1971)

horner2.jpg Anton Horner founded a distinctively American style of horn playing, and his impact is still with us today. He is credited with having introduced the double horn in the US and having introduced the use of an assistant first horn. He is quoted as saying, "God made some people Horn players; others are not so fortunate."

Horner was born in Austria in 1877; in 1885 he immigrated with his family to the US and settled in Philadelphia. His father was a violinist, and Horner studied violin with him from age 8 to 13. After his father died in 1890, the family returned to Austria. In 1891 he entered the Leipzig Conservatory as a violin student. At the insistence of his great uncle, Josef Semmler, a hornist and music teacher, he took on the horn as his second instrument, studying with Friedrich Gumpert. After a year, he made horn his primary instrument.

Horner returned to Philadelphia upon graduation in 1894 and worked in the Walnut Street Theater and various other jobs. In 1899 Victor Herbert appointed him first horn of the Pittsburgh Orchestra. In the 1900 summer season he played on a European tour with Pittsburgh, and in 1901 as first horn of the Sousa Band. In 1901 he was joined by his brother, Joseph (1882-1944), who had played the previous season as the original second horn of the new Philadelphia Orchestra.

Horner auditioned for the Philadelphia Orchestra in 1902 and was appointed first horn by Fritz Scheel. He was joined again by his brother, who remained second horn until his retirement in 1938. Horner appeared as soloist with the orchestra a number of times; his last solo appearance was in 1928 in the Mozart Sinfonia Concertante. During his years with the Philadelphia Orchestra, he also played with a number of other chamber groups and orchestras, including the Bethlehem Bach Festival and the Baltimore Symphony's first series of concerts. Horner shared first horn duties during the 1929-30 season, and the following season moved to third horn, where he remained until his retirement in 1946.

Horner taught at the Curtis Institute of Music from its founding in 1924 until 1942, and his students (James Chambers, Marc Fischer, Mason Jones, Arthur and Harry Berv, and many others) have performed in orchestras worldwide. In the first years, the faculty played the principal parts in the school orchestra, so students heard and watched their teachers. Horner had his students stand in their lessons to aid breathing. He would sing rather than play to demonstrate, saving his embouchure for evening concerts.

While still at the Pittsburgh Symphony, Horner saw an advertisement for the Kruspe double horn and ordered one, beginning a long association with Kruspe. This first instrument was the Gumpert model double (designed by Edmund Gumpert, Friedrich's nephew). Starting in 1902, Horner had horns built to his specifications (the Horner Model), which he imported and sold until World War II. This design was copied by several other makers, the most notable being the Conn 8D.

Horner's major publication (still available today) is Primary Studies for the French Horn.

Horner was an original member of the IHS, and was elected an Honorary Member in 1971. A tribute appears in the May 1972 issue of The Horn Call and a reminiscence by one of his students in the April 1990 issue.

photo courtesy of The Philadelphia Orchestra Association Archives and John Collins

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