French horn

French horn

A modern double horn
Brass instrument
Other names	Horn de:Horn, Waldhorn, Ventilhorn es:trompaorcorno fr:cor (d'harmonie) it:corno
Classification	Aerophone Wind Brass
Hornbostel–Sachs classification	423.232 (Valved aerophone sounded by lip vibration)
Playing range
In F the horn sounds aperfect fifthlower than written. In older music, bass-clef notes are written one octave lower and thus sound aperfect fourthhigher than written.
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 or information
List of horn techniques List of compositions for horn

TheFrench horn(since the 1930s known simply as thehornin professional music circles) is abrass instrumentmade of tubing wrapped into a coil with a flared bell. Thedouble horn in F/B♭(technically a variety ofGerman horn) is the horn most often used by players in professional orchestras and bands, although thedescantandtriplehorn have become increasingly popular. A musician who plays a horn is known as ahorn playeror hornist.

Pitch is controlled through the combination of the following factors: speed of air through the instrument (controlled by the player's lungs andthoracic diaphragm); diameter and tension of lip aperture (by the player's lip muscles—theembouchure) in the mouthpiece; plus, in a modern horn, the operation ofvalvesby the left hand, which route the air into extra sections of tubing. Most horns have lever-operatedrotary valves,but some, especially older horns, usepiston valves(similar to atrumpet's) and theVienna hornuses double-piston valves, orpumpenvalves.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 naturalharmonicsof the instrument (similar to abugle). 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.The key of a natural horn can be changed by adding differentcrooksof different lengths.

Three valves control the flow of air in thesingle horn,which is tuned to F or less commonly B♭.The more commondouble hornhas a fourth, trigger valve, usually operated by the thumb, which routes the air to one set of tubing tuned to F or another tuned to B♭which expands the horn range to over fouroctavesand blends with flutes orclarinetsin awoodwind ensemble.Triple horns with five valves are also made, usually tuned in F, B♭,and adescantE♭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,though these are rarer. Also common aredescantdoubles, which typically provide B♭and alto F branches.

A crucial element in playing the horn deals with the mouthpiece. The mouthpiece is usually 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.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.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 the player's stamina due to the resulting constricted flow of blood to the lips and lip muscles. Added pressure from the lips to the mouthpiece can also result in tension in the face resulting in what brass players often call "pushing". As mentioned before, this results in an undesirable sound, and loss of stamina.

Name

The name "French horn" first came 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 chasseorcor de chasse(the clear modern distinction betweentrompes[trumpets] andcors[horns] did not exist at that time).

German makers first devisedcrooksto 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 the Italian namecorno cromatico(chromatic horn).

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.TheInternational Horn Societyhas recommended since 1971 that the instrument be simply called thehorn.

There is also a more specific use of "French horn" to describe a particular horn type, differentiated from theGerman hornandVienna 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.

History

Main article:Horn (instrument)

Horn with threePerinet valves

"How to shout and blow horns." —Facsimile of a miniature in a manuscript of the hunting manual ofGaston Phoebus(15th century)

As the name indicates, humans originally used to blow on the actualhornsof animals before starting to emulate naturally occurring horns with metal ones. The use of animal horns survives with theshofar,a ram's horn, which plays an important role inJewish religious rituals.

Early metal horns were less complex than modern horns, consisting of brass tubes, wound around a few times, with a slightly flared opening (the bell). These early "hunting" horns were originally played on ahunt,often while mounted, and the sound they produced was called arecheat). Change of pitch was controlled entirely by the lips (the horn not being equipped with valves until the 19th century. Without valves, only the notes within theharmonic seriesare available. By combining a long length with a narrow bore, the French horn's design allows the player to easily reach the higher overtones which differ by whole tones or less, thus making it capable of playing melodies before valves were invented.

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, horn-players had no ability to play in different keys. The remedy for this limitation was the use ofcrooks,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 makersHeinrich Stölzeland Friedrich Blümel patented the first valved horn, using rotary valves. François Périnet introduced piston valves in France about 1839.The use of valves initially aimed to overcome problems associated with changing crooks during a performance. Valves' unreliability, musical taste, and players' distrust, among other reasons, slowed their adoption into the mainstream. Many traditional conservatories and players refused to use them at first, claiming that the valveless horn, ornatural 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.

The use ofvalves,however, opened up a great deal more flexibility for playing in different keys; in effect, the horn became an entirely different instrument, fullychromaticfor 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.There were many different versions of early valves, most being variants of the piston and rotary systems used in modern horns. Early valves by Blühmel are cited as possibly the first rotary valve, but the first confirmed rotary valve design was in 1832 by Joseph Riedl in Vienna.

Types

Horns may be classified into single horn, double horn, compensating double horn, and triple horn as well as having the option of detachable bells.

Single horn in F, student model.

Single horn

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 byjazzperformers.

Dennis Brain's benchmark recordings of the Mozart Horn Concerti were made on a single B♭instrument byGebr. Alexander,now on display at theRoyal Academy of Musicin London.

Double horn

Thevalvesof aConn6D 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)

1. Mouthpiece
2. Leadpipe,where the mouthpiece is placed
3. Adjustable handrest
4. Water key(also called a spit valve)
5. Fourth valve to change between F and B♭pitches
6. Valve levers, operated with the left hand
7. Rotary valves
8. Slides,for tuning each valve
9. Long tubing for F pitch with slide
10. General slide
11. Short tubing for B♭pitch with slide
12. Bellpipe
13. 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 makerEduard 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. 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.

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. Traditionally, Kruspe models are constructed fromnickel 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; although these differences in finish aren't as prevalent today - horns of both finishes can be found in either wrap. 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.

In Europe the most popular horns are arguably those made by Gebr. Alexander, of Mainz (particularly the Alexander 103), and those made byPaxmanin London. In Germany and theBeneluxcountries, 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, theConn8D, 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.

Compensating double horn

A full double horn has two full-length sets of slides (one set for the B♭side and a longer set for the F side); a compensating double horn only has full-length slides for the B♭side and a shorter set of slides whose length can be added to the B♭slides to give the necessary tubing length for playing in F. As for the full double horn, the air is routed through the appropriate slide(s) by use of the fourth valve. Compensating double horns are lighter than full double horns because of this design.

Triple horn

A triple horn has more tubing, adding a descant horn to the double horn and hence giving more assistance for the high range. The descant horn is most commonly in F, sounding an octave higher than the normal F horn.

Detachable bell

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

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

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

Thenatural hornis 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. Although a few recent composers have written specifically for the natural horn (e.g.,György Ligeti'sHamburg Concerto), today it is played primarily as aperiod 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

Vienna horn

Main article:Vienna horn

TheVienna hornis a special horn used primarily inVienna,Austria.Instead of usingrotary valvesorpiston 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

Main article:Mellophone

Two instruments are called amellophone.The first is an instrument shaped somewhat like a horn, in that it is formed in a circle and is often referred to as a "classic" or "concert" mellophone. It has piston valves and is played with the right hand on the valves. Most are pitched in the key of F, with facility to switch to E♭,either by changing crooks/leadpipes, or by a valve dedicated to this purpose. Older examples often included the ability to be played in the keys of D and/or C as well. 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". A derivative of the Falto 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 bettermarching instrumentsthan 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 ofdrum 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 differentembouchure.Mouthpiece adapters are available so that a horn mouthpiece can fit into the mellophone lead pipe (some of them are designed to where the end is bent at a 45-degree angle so that they can use the same embouchure), 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.

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.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

The marching horn is quite similar to the mellophone in shape and appearance, but it is pitched in the key of B♭,the same as the B♭side of a double horn orvalve trombone(which is also the same as abass trumpet,an octave below a normal trumpet). It is also available in F alto, one octave above the F side of a double horn (or the high F side of a triple 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 that 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.Some college marching bands use marching French horns when accompanying choirs as to not overpower their singing.

Wagner tuba

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 and its somewhat tuba-shaped appearance, it is generally not considered part of thetubafamily, because the instrument's relatively narrow bore causes it to play more like a horn. Invented forRichard Wagnerspecifically for his workDer Ring des Nibelungen,it has since been written for by various other composers, includingBruckner,StravinskyandRichard 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. It is usually played in a range similar to that of theeuphonium,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. The low pedal tones 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

See also:List of compositions for horn

Paxman horns

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

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 hisJagdsinfonie(hunting symphony).Telemannwrote much for the horn, and it features prominently in the work ofHandeland inBach'sBrandenburg Concerto no. 1.Once the technique ofhand-stoppinghad been developed, allowing fully chromatic playing, composers began to write seriously for the horn.Gustav Mahlermade great use of the horn's uniquely haunting and distant sound in his symphonies, notably the famousNachtmusik(serenade) section of hisSymphony No. 7.

Many composers have written works that have become favorites in the horn repertoire. These includePoulenc(Elegie) andSaint-Saëns(Morceau de Concert for horn and orchestra,op. 94 andRomance,op. 36). Others, particularlyWolfgang Amadeus Mozart,whose friendJoseph Leutgebwas a noted horn player, wrote extensively for the instrument, includingconcertiand other solo works. Mozart'sA Musical Jokesatirizes 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 asBruckner,Mahler,andRichard Strauss,whose father was a well-known professional horn player. Strauss'sTill Eulenspiegel's Merry Prankscontains one of the best known horn solos from this period, relying on the chromatic facility of the valved horn.Schumann'sKonzertstückfor 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. Despite his use of natural horns in his work (e.g., Horns in B♮ in the second movement of hisSymphony No. 2), players today typically play Brahms's music on modern valved instruments.

Chamber music

There is an abundance of chamber music repertoire for horn. It is a standard member of thewind quintetandbrass quintet,and often appears in other configurations, such as Brahms'Horn Triofor 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

A horn section in a militaryconcert band

The horn section inI Solisti Veneti,a chamber Baroque orchestra

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 fromBeethoven(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 assistantwho 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.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

See also:Category:Jazz horn playersandFrench horn in jazz

The French horn was at first rarely used injazzmusic. (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/arrangerGil Evanswho included the French horn as an ensemble instrument from the 1940s, first inClaude Thornhill's groups, and later with the pioneeringcool jazznonet (nine-piece group) led by trumpeterMiles Davis,and in many other projects that sometimes also featured Davis, as well asDon Ellis,a trumpet player fromStan Kenton's jazz band. Notable works of Ellis' jazz French horn include "Strawberry Soup" and other songs on the albumTears of Joy.Notable improvising horn players in jazz includeJulius Watkins,Willie Ruff,John Graas,David Amram,John Clark,Vincent Chancey,Giovanni Hoffer,Arkady Shilkloper,Adam Unsworth, andTom Varner.

Notable horn players

See also:List of horn players

• Hermann Baumann– 1964 winner of theARD International Music Competitionand former principal horn in various orchestras, including theStuttgart Radio Symphony Orchestra
• Radek Baborák– famous Czech horn player, former principal horn inBerlin Philharmonic Orchestra,1994 winner of theARD International Music Competition,winner of theConcertino Pragain 1988 and 1990, holder of aGrammy 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 theRoyal Philharmonic Orchestraand thePhilharmonia Orchestra,with whomHerbert von Karajanmade well-known recordings ofMozart'shorn concertos
• Alan Civil– former principal horn of thePhilharmonia Orchestra,theRoyal Philharmonic Orchestra,and theBBC Symphony Orchestra
• John Cerminaro– former principal horn of theSeattle Symphony,New York Philharmonic,andLos Angeles Philharmonic
• Dale Clevenger– former principal horn of theChicago Symphony Orchestra(1966–2013)
• Vincent DeRosa– former principal horn for a number ofHollywoodstudios and composers includingJohn Williams
• Stefan Dohr– current principal horn,Berlin Philharmonic Orchestra
• Richard Dunbar– a player of the French horn, playing in the free jazz scene
• Philip Farkas– former principal horn of theChicago Symphony Orchestra,developer of theHolton-Farkashorn and author of several books on horn and brass playing
• Douglas Hill– former principal horn of theMadison Symphony Orchestra,notable teacher and composer
• Julie Landsman– former Principal Horn for theMetropolitan Operaand well-known horn pedagogue
• Stefan de Leval Jezierski– longest serving horn,Berlin Philharmonic Orchestra
• Philip Myers– former principal horn of theNew York Philharmonic
• Jeff Nelsen–Canadian Brasshornist 2000–2004, 2007–2010;Indiana University Jacobs School of Musichorn faculty since 2006
• Giovanni Punto– horn virtuoso andhand-stoppingpioneer, after whom the International Horn Society's annual horn playing award is named, also a violinist, concertmaster, and composer
• David Pyatt– winner of theBBC Young Musician of the Yearcompetition in 1988 and current principal horn of theLondon Philharmonic Orchestra
• Gunther Schuller– former principal horn of theCincinnati Symphony OrchestraandMetropolitan Opera Orchestra,and played withMiles Davis
• Barry Tuckwell– former principal horn of theLondon Symphony Orchestraand author of several books on horn playing
• William VerMeulen – horn soloist and former principal horn ofHonolulu Symphony Orchestracurrent principal Horn of theHouston Symphony Orchestraand professor atRice University
• Radovan Vlatković– 1983 winner of theARD International Music Competition,former principal horn and soloist of theBerlin Radio Symphony Orchestra,and professor at theMozarteum University of Salzburg
• Sarah Willis– first female brass-player in the Berlin Philharmonic Orchestra, US-born, British ambassador for the horn and classical music through television programs such asSarah's MusiconDeutsche Welle.

People who are more notable for their other achievements, but also play the horn, include actorsEwan McGregorandDavid Ogden Stiers,comedian and television hostJon Stewart,journalistChuck Todd,The Whobassist and singerJohn Entwistle,and rapper and record producerB.o.B.

Gallery

• 
  A modern full double horn
• 
  AVienna horn
• 
  A hunting horn
• 
  A French Omnitonic horn
• 
  Anatural hornat theVictoria and Albert Museum
• 
  A replica of a Mozart-era natural horn
• 
  A hunting horn in E♭
• 
  A natural horn
• 
  An older, French-madecor à pistonsin E♭
• 
  A French-made horn with piston valves
• 
  A horn by Alexander, once owned by Dennis Brain
• 
  A French horn in Berlin
• 
  A rose gold French Horn

See also

• List of compositions for horn
• List of horn makers
• List of horn techniques

External links

• 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 maintenanceArchived2017-06-30 at theWayback Machineat Paxman, compiled with the assistance ofSimon de Souza
• How to dismantle a valveat Finke Horns
• Horn Etudes- List of horn etudes