1 J. E. Altenburg—Versuch einer Anleitung … Trompeter- und Pauker-Kunst. Halle, 1795. Reprint, Dresden, 1911.Google Scholar

2 Anton-Joseph Hampel was second horn in the orchestra of the Chapel Royal at Dresden from 1737 to 1751. Apart from the fact that he and his first horn colleague, Karl Haudek, were considered excellent virtuosi and the best teachers of their day, little is known of Hampel's life, beyond his introduction of hand stopping and his improvement in the design of the horn (Inventionshorn).Google Scholar

3 Heinrich Domnich—variously spelt Dominique and Dominick by French and English writers—b. Wurtemburg 1760. Son of a horn player, he studied first with his father, and later under Punto in Paris. Second horn at the Paris Opera in 1790 and at the Théâtre Feydean in 1799, he was appointed one of the Professors of the horn at the Paris Conservatoire on its foundation in 1795, a post he retained until 1817 when his class was suppressed and Dauprat remained as sole professor of the instrument. He trained a number of pupils who made their mark in music, two of the best known being E. C. Lewy and Jean Mengal. His Méthade de Premier et de Second Cor published in 1808 was immediately adopted as the standard Conservatoire tutor and began a new era in works of this kind.Google Scholar

4 Punto—b. c. 1754 at Zehuziez, in Bohemia. His real name was Jan Vaclav Stich which, when he started to tour Europe as a virtuoso he changed to Punto. Studied under Matiegka, Schindelarz and, finally, Haudek and Hampel. He appears to have been a most remarkable man, and the brightest and biggest star in a constellation of brilliant horn virtuosi. Details of his varied and exciting life may be found in most biographical dictionaries of musicians, and Kling devotes an article to him in the Bulletin français de la S.I.M., 1908, pp. 1066–82. Of all horn players his name stands out like that of Paganini among violinists. He appears to have been endowed with a lip that could cover an extreme range, though Domnich cites him as particularly fine in the medium and low registers. He could, and did in cadenzas, produce chords of two and three notes. Like one or two other virtuosi of his time he played on a silver horn made for him by Joseph Raoux, of Paris (see footnote 13). He visited London in 1771 or 1772, and earned the praises of Burney.Google Scholar

5 Vandenbrock, Othon Joseph. Horn player at the Théâtre de Monsieur (Opéra Comique), Paris in 1790, and at the Théâtre de la République (Opéra) in 1799. A pupil of Spandau, he was the author of a Traité général de tous les instruments à vent (Naderman, Paris, c. 1800) and a Méthode de cor avec laquelle on peut apprendre et connaître parfaitment l'étendue de cet instrument (Naderman, Paris, n.d.).Google Scholar

6 Dauprat, Louis-François, 1781–1868: was a pupil of Spandau, Punto and Domnich. Entered Paris Conservatoire in Kenn's Class (cor basse) and took first prize in 1798. Was second horn at the “Monteusier-Variétés” Theatre in 1799, succeeding Kenn as second at the Opera in 1806 and Duvernoy as solo horn in 1816. Was assistant professor at the Conservatoire in 1802 and only professor in 1816. He retired in 1842. Was chamber musician to Napoleon I and to Louis XVIII. His Méthode de Cor Alto et de Cor Basse stands in a class by itself among works of the kind.Google Scholar

7 Rodolphe, b. Strasburg, 1730, d. Paris (?) 1812. Studied under his father and was one of the first to master the hand horn which he introduced to a Parisian audience for the first time in 1765 (Lavoix, Histoire de l'Instrumentation, Paris 1878). Laborde (Essai sur la Musique, Paris 1780, Tome III) says of him: “L'un des plus célèbres Professeurs qu'il y ait jamais eu pour le cor de chasse. Quoique second il monte aussi haut que jamais premier cor ait monté, et donne toujours les sons les plus beaux, ainsi que les plus agréables. Son exécution est incroyable, et il a trouvé moyen de faire entendre sur cet instrument ce qu'on n'avait jamais entendu avant lui …” (Tr. One of the most famous Professors of the horn that ever lived. Although a “second” horn he can get up as high as any “first” horn, while his tone is always of the finest and most agreeable. His execution is unbelievable, and he has succeeded in doing on his instrument what had never been done before…) According to Dauprat (Méthode de Cor Alto et de Cor Basse, Paris n.d., but c. 1840) Rodolphe overdid it in the top register and ruptured himself, having to give up the horn in consequence.Google Scholar

He studied composition under Jomelli, and produced several operas. When the Paris Conservatoire was instituted he was appointed Professeur de Solfège, and his “Solfège” was still the standard work in France up to a few years ago for elementary classes.Google Scholar

8 Spandau. Is known to have played at The Hague in 1773 or 1774 and in London probably in 1775. His playing is highly praised by Burney. Domnich classes him as a cor alto.Google Scholar

9 See Musical Times, Jan., Feb., Mar., 1925, “Studies on the Horn,” by W. F. H. Blandford. No. III, “The Fourth Horn in the Choral Symphony.”Google Scholar

10 It has been the writer's experience with a large number of instruments and crooks that the shorter the crook the more marked is the tendency for the fifth, eighth and tenth harmonics to be fiat: this tendency is especially noticeable in the case of the large bore German type of horn. We are unable to offer any scientific explanation of this phenomenon.Google Scholar

11 Frédéric Duvernoy: b. Montbéliard 1765, d. Paris 1838. A self-taught horn player, he performed at the Concert Spirituel on 6th August, 1788, joining the orchestra of the Comédie Italienne in the same year. Became solo horn of the Paris Opera in 1790, a post he retained until 1816, when he retired with a pension. A member of Napoleon Bonaparte's private band, he was the first to introduce the genre cor mixte.Google Scholar

12 Giovanni Puzzi. Famous horn player and possibly a pupil of L. Belloli. Settled in London about 1820 and became leading player in this country. His wife, who sang under the name of Mme Puzzi, was one of the best-known sopranos of her day. Puzzi died in 1876Google Scholar

13 Joseph Raoux. The Stradivarius of the Horn. He appears to have begun working on his own account about the middle of the xviiith century, and he attained a rare skill in the exercise of his craft. A very fine horn by him was made for and presented to Dauprat when he took a first prize at the Paris Conservatoire in 1798. Joseph Raoux died in 1808, but his atelier was carried on by his son Lucien-Joseph who was succeeded in his turn about 1825 by his son Marcel-Auguste. Marcel-Auguste Raoux carried on the business until, nearly ruined by litigation with Ad. Sax, he refused to allow his son to carry on and sold the business to J.-C. Labbaye in 1858. It became in turn the property of Millereau, Schoenaers and finally Selmer, who now possesses what is left of the Raoux material, together with that of Ad. Sax. Joseph Raoux built, apparently at Carl Türrschmiedt's suggestion, a new type of Inventionshorn that became popular with all the virtuosi under the name of Cor Solo. Unlike the German model, it could only be crooked in five keys, namely G, F, E, Eb and D. The illustrations show the difference between the German Inventionshorn and the French Cor Solo. These last may be considered the high-water mark of the horn maker's art, as made by Joseph and Lucien-Joseph Raoux, but are now seldom to be met with outside collections.Google Scholar

14 Luigi Belloli, b. Castel-Franco, 1770, d. Milan 1817. Professor of the horn Milan Conservatoire 1812 until his death. Leading Italian player of his time.Google Scholar

15 Gerber, Historisch-biographisches Lexikon der Tonkünstler, Leipzig. I. 1700–92, and II, 1812–14.Google Scholar

16 Johann Werner, of Neustadt, Dresden. A trumpet by him (No. 3151 in Brussels Collection) dated 1733 shows him to have been working in that year. He was joined in business by Johann Gottfried Leydholdt or Leutholdt, in 1760, or a little earlier (pair of Waldhorns Nos. 174/5 in Stockholm Museum dated 1760 and signed “Werner & Leydholdt”), leaving the latter in sole possession before 1782 (Waldhorn No. 34 Berlin, dated 1782 and signed “J. G. Leuthold”). Werner is actually credited by Fétis (Biog. Univ.) with having “discovered hand stopping. It is quite possible that it is some experiment carried out jointly by Werner ana Hampel that gave the latter the idea of using the hand in the bell.Google Scholar

17 Johann Gottfried Haltenhof. Instrument maker of Hanau-am-Mayn. Instruments of his make dated 1776, 1790 and 1795 have survived. The first, a very fine Inventionshorn in the Paris Conservatoire Museum (No. 1183), dismissed in a line and a half by Pillaut, has a long tuning slide which is graduated approximately in half-inches. The instrument has a complete set of crooks from Bb alto to Bb basso, excepting crooks for Gb and Db which did not form part of the usual complement.Google Scholar

18 Cormery had a workshop in the rue Mercier between 1776 and 1785. Laborde (Essai sur la musique) mentions him as an excellent maker of horns, but says that those made in Vienna by Kerner are to be preferred for concert work. Cormery was succeeded by Riedlocker about 1808.Google Scholar

19 According to Rode the instrument was used in Russia, with success.Google Scholar

20 See Musical Phenomena by Charles Clagget, printed in 1793, pp. 14–20. There is a drawing of “A Cromatic Trumpet” in this pamphlet, but the nature of the mechanism inside the “Pandora's box” where the mouthpiece and the two trumpets met is not disclosed.Google Scholar

21 Sax, Charles-Joseph, father of the more widely known Adolphe Sax, was none the less a clever and inventive instrument maker. He was in the business in Brussels from 1815 until about 1850.Google Scholar

22 See The Musical Progress and Mail, Mar. to July, 1940, “The Evolution of the large-bore mouthpiece Instrument,” by R. Morley-Pegge.Google Scholar

23 See Fétis, La Revue Musicale, Vol. II, 1828, pp. 154 et seq.Google Scholar

24 Meifred, Joseph-Emile. Entered the Conservatoire (Dauprat's class) in 1815. Joined the Opera Orchestra in 1822. Interested himself in the valve horn and improved it in collaboration with Labbaye and Halary. Played a concerto for valve horn at the Société des Concerts in or about 1828. In 1833 a valve horn class was started at the Paris Conservatoire with Meifred as professeur. On Meifred's retirement in 1863 the class was suppressed and was not revived until 1902 under Francois Brémond, when the valve horn superseded the hand horn as the standard instrument.Google Scholar

25 This instrument is illustrated in C. R. Day's Descriptive Catalogue of the Musical Instruments … at the Royal Military Exhibition, London, 1890. (Eyre & Spottiswoode, 1891), Plate X, fig. c.Google Scholar

26 See Pierre, Constant, La Facture Instrumentale à l'Exposition Universelle de 1889, Paris Librairie de l'Art Indépendant, 1890, pp. 193–212.Google Scholar

27 See Proceedings, Vol XXXV, p. 123.Google Scholar

28 Denkmäler deutscher Tonkunst, 2te Folge, IX, 2Google Scholar