by Andrew Lane

How does someone describe the “sound” of the French horn? If you are not a horn player, you might say the horn has a mellow, a rich, or a brassy tone; but if you are a horn player, you might say it has a New York, a Chicago, a Berlin, or a Vienna sound.

In 1990, I joined the horn section of the Florida Symphony Orchestra. The horn section was made up of excellent players who had a clear idea of the sound they wanted to produce. Prior to my audition for the orchestra, I played a Paxman model 20. I liked the instrument very much, but I knew if I wanted a job in the Florida Symphony, I had better change to a Conn 8D because that was the sound they would be looking for in the audition. I had always liked the sound of an 8D, having listened to the great players who used them, but I was never really “wrapped up” in the horn being the deciding factor of the sound I wanted to produce. The FSO section was an established 8D section, so I didn't even consider showing up for the audition without one. Luckily for me, I won the job! Playing in that group really opened my eyes to how a horn section, with a common concept of playing, could work together to create a unity of sound that was very inspiring.

Florida Symphony Orchestra horns - Excerpts from Tchaikovsky Symphony No. 4

But is it necessary for all players in a section to use the same instrument to create a unified sound? We tend to make assumptions about how a horn plays based on how it looks: if it's a Geyer wrap, it will produce a certain sound; if it's a Kruspe wrap, it will sound another way. Horns have many parts, and, when considering all the variables, it’s impossible to narrow down to just one that creates a certain sound.

These days, horn sections appear very different from sections of the past. Many have replaced their nickel horns with brass ones, and we also see a triple horn leading a section now and then. The players in the Philadelphia Orchestra might play their brass horns one week but bring out their 8Ds the next if this works better for the program. The instrument of choice in the New York Philharmonic is now a brass Schmid, and the Metropolitan Opera Orchestra players favor horns made by Patterson. So what has changed? Perhaps we have become more open-minded about the sound we want and less fixated on having a certain instrument to produce it.

Since I have been building horns, I have often been asked how the “wrap” of the instrument affects the sound and feel. Does a more open wrap, like a Geyer, feel more open? Does a Kruspe wrap, like a Conn 8D, feel tighter? The answers are yes and no to both questions. The rate of taper through the lead pipe, first branch, and bell tail, plays a crucial role in how the instrument feels and plays. The wrap of an instrument is not the deciding factor in giving it an “open” blow, a “tighter” feel, or a bright or dark sound; the tapers which make up the design are crucial to determining sound and feel.       

Of course, the bell flare is very important too. Spun or hand-hammered? Large, medium, or small? Certainly, a larger bell throat can give the horn a more open sound with the “edge” coming at higher volumes, whereas with a smaller bell, the player might realize that edge at lower dynamics. A spun bell tends to yield a darker sound while a hand hammered bell, with its complicated harmonics, tends to result in a brighter sound.

But all these variables considered, sound is impacted most by a player’s natural tendencies; so don't get too “wrapped up” in the “wrap” of a particular horn. When we think of all the great horn players, past and present, we may attribute a certain type of sound to the instrument they play. However, the sound they create is unique to them and very much depends on their approach and style. The most important variable to creating a desired sound is the person playing the instrument and how their instrument of choice fits their concept of playing. 

Andrew Lane is the craftsman-owner of Lanstro Horns.

by Jeff Snedeker

The story of the International Horn Society begins in 1968 and, fittingly, with a horn workshop. As William C. Robinson, freshly-hired horn professor at Florida State University (FSU), got to know his new students, “he became aware that his students, although talented, had very little knowledge of their instrument’s heritage. They were not familiar with the names of Anton Horner, Max Pottag, and others who were the founding fathers of horn playing in this country [i.e., in the USA]. Robinson’s growing awareness of this problem fostered the idea of bringing the world’s greatest horn players and teachers together for a workshop, including Anton Horner, Max Pottag, Wendell Hoss, and Carl Geyer. Robinson recalls, ‘Bringing them together would give all in attendance... the opportunity to get to know them and to learn an appreciation of the heritage of horn playing which is ours. Mr. Horner and Mr. Pottag were in their nineties and Mr. Hoss and Mr. Geyer were only slightly younger, so I knew that our time was limited if we were going to bring them, together.’” from David McKinley Hedgecoth, “The Life and Career of William Calvin Robinson” (MM thesis, Florida State University, 2003). 

In the summer of 1968 in Aspen, Colorado, Robinson spoke with Philip Farkas, with whom he had studied 10 years before and who had become a friend and mentor, about the idea of hosting a workshop that would feature the horn, its music, and some prominent performers. Farkas, already a legend from his orchestral and teaching career, expressed strong support, lending credibility to the idea, something that Robinson maintained was critical to the mounting of this first event. Next, Robinson spoke to Joseph White, his predecessor at FSU who had moved into an administrative role at the school, about the possible event. White, a former student of Anton Horner and a Curtis classmate of Mason Jones and James Chambers, was very supportive and together they approached the Dean of the School of Music, Wiley Housewright. The school did not have a budget to support the event as conceived, so the duo was encouraged to present the proposal to the Division of Continuing Education. To their pleasant surprise, their proposal was met with enthusiastic support. (Jeffrey Snedeker, International Horn Society: The First 50 Years, page 14)  

The First National French Horn Workshop was subsequently held in June 1969 at FSU. To learn more about this first workshop and how the IHS came to be, buy the book! 

Want to know more? Take a listen to our podcast on the making of the book,   Bonus Episode: IHS 50th Anniversary Book.

Nobuaki Fukukawa’s latest release is Mozart’s complete horn concertos. It is well known that Mozart composed these concertos for his great friend, Joseph Leutgeb, and now Fukukawa has recorded these works with his great friend, Masato Suzuki. The recording was made at Suntory Hall in February 2021.

Fukukawa: In a way, this was also a by-product of the Covid-19 pandemic. I was asked whether I had a project I wanted to realize in Suntory Hall, as there had been a cancellation. I decided immediately that I wanted to record Mozart’s horn concertos. This had been a dream of mine for some time.

Astonishingly, Fukukawa had only a month to prepare the music and to put together an orchestra for the recording sessions. He immediately asked Masato Suzuki to conduct, and he gathered the players mainly from among his colleagues in the NHK Symphony Orchestra, including concertmaster Kei Shirai.

Fukukawa: Masato and I are the same age, and our first meeting was as composer and performer. I had commissioned him to write a new piece for horn; this was the beginning of our fruitful relationship, and we have since performed together on various occasions since. 

In addition to the four concertos, the disc contains the Concert-Rondo K. 371.

Fukukawa: Music fans will no doubt be familiar with the stories regarding Mozart’s horn concertos which were written for his friend, hornist Joseph Leutgeb (1732-1811). By all accounts, they were very good friends; in the autograph score, for example, one can see Mozart’s teasing scribbles to him. It has, likewise, been a great joy for me to record these works with my musical friends. 

Fukukawa says, “if Leutgeb gave the premiere of the horn concertos, Mozart himself most likely would have conducted and may have even joined in with the orchestra on the keyboard and done things to make the soloist giggle.”

One of the unique features of this complete Mozart set is that the cadenzas which were specially written for this recording by contemporary composers, including the cadenza for No. 4 (by Dai Fujikura), Concert-Rondo (by Miho Hazama), and No. 3 (by project conductor Masato Suzuki). As you will hear on the disc, each cadenza is distinctly characteristic of its composer.

Fukukawa: The cadenza by Fujikura makes use of the horn’s harmonic series, so it can also be played on the natural horn. In Suzuki’s cadenza, the harpsichord bursts in, which is perhaps how Mozart and Leutgeb might have done if they had performed together. Miho Hazama’s cadenza displays her unique vision of the world, but within that, she incorporates a Mozartian world. Frankly, I was amazed that we were able to assemble such a variety of cadenzas on such short notice.

The complete recording is available here: https://music.apple.com/us/album/mozart-horn-concertos-nos-1-4/1577498935