Hello Klaus, yes - there was nothing else than peace between us, even we discuss things we both see from different views.
Regarding the 11th partial: The 11th partial is written as "f2" allways, no matter if the horn stands in F or C or G or D. This fact makes it IMPOSSIBLE to name it (concert) Bb in your nomenclature, as this is limited to the F-tonality. And there is no 11th partial Bb. That´s why I called it comparing apple with pears. That´s the one thing. And we have no F horns in this particular Sinfonia. So the 11th partial CANNOT be Bb (concert), but C for the G-horns & G for the D-horns. Resume: talking about partials require to talk them as NOT TRANSPOSED, means as written. They remain the same allways, but sound different according to the instruments tonality. Concert pitch has no place here, when talking partials, please, but to make it understandable better for the laymen, concert pitch should be given within brackets. It becomes problematic really at the Adagio cadenza, where (notated) f & a meet together for both pairs of horns, the G-horns first, followed by the D-horns. Here the rather flat a meets the rather sharp f. This is much easier on Descant horns than on open played natural horns. No wonder your G-descant Alexander gets in trouble when down-tuned to F, as this cylindrical F-crook shifts the whole proportions of the sound-tube out of the regular. I do not speak of valves here, - and, please do not misunderstand me here -, it is a very very big difference, if a true high grade professional plays that extreme pieces or an even experienced amateur. Agreed ? Sorry, I cannot accept that & I refuse to believe it, that the Danish producer eliminated the solo horn from this particular aria in the first act, as it is one of the very high lights in the whole opera. Please check again if we do not talk about different numbers. ============================================================ =========================== -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Klaus Bjerre Sent: Tuesday, May 16, 2006 2:57 AM To: The Horn List Subject: RE: [Hornlist] horn advice In a way its silly that we take up a fight, Hans! We are both old school persons with huge personal libraries. I love German culture, but I also hate it, as it even more than my own (Danish) one constitutes a conch. But then you are a true and honest German as opposed to some plastic politically high-ranking persons. As for our divergences upon Giulio Cesare: I always referred to the Sinfonia for horns in G and D only. And once again I am right. The Bb is the problematic 11th partial of the horn in F. You take the point of view of a horn player by calling that note F or F# all according to the method of modifying the pitch by the right hand. As a player, conductor, arranger, and scholar I have been around just about any transposing and clef thinkable. To avoid madness I at some point of time decided to call every note by the name it would have if played on a piano tuned to A=440. I havent been through the whole Händel score, but most of it, including the said F major aria with the obligato 1st horn part, which is doubled by the 1st violins. It appears like the Copenhagen director made a theatrically very effective decision: The leader of the 1st violins entered the stage in her black dress and played the obligato as a very effective duet with the counter tenor. My ears heard no horn in that duet. _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
