According to Viennese tradition, there were no Bb-basso crooks used before W.A.Mozarts "Il Seraglio". And, as said before, the horns in H (B-natural) are just for one single Haydn symphony.
H-horn (basso) appeared much later e.g. with G.Verdi, J.Brahms, but they did not think about using a monstrum crook or coupler + C-basso crook. It was rather a method of writing horn parts CLEAN, as the horn players were used to read clean parts (no key signatures, very few accidentals = sharps or flats) & could transpose easily then. The horn had valves since some time & players had acquired the skill to play "chromatic" instead of just "valve-switch the pitch (tonality)". Well, H-basso would work with F-horn plus 123valves, but sound rather clumsy. They still used crooks then in combination with the valves, but what a torture of the ears. C-basso-crook plus (full extended) 2nd valve. I think it was exceeding the horizon of the common horn player, using the different crook length plus calculating the different extention for the three valves. A big NO-NO. It was a reading matter, not more. Once the player has understood the (brain) acrobatics of transposing, it is a no-problem issue. If not learned properly, it remains a life-long nightmare (see: practising ooompah.ooompah, if there is a not often seen transposition !!!). Regarding Mozart: he hated the trumpet sound since early childhood because of the neighbour Schachtners practise sessions with his trumpet - all these factidious (out of tune) notes and the crude noise. Haydn also used the horns as a much softer replacement for trumpets or together with trumpets in unison to milder the trumpet sound. Sorry for my cynism, but there are too many players with inadequate background (musically & regarding literature knowledge). ============================================================ =================================================== -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Friday, July 07, 2006 4:06 AM To: horn@music.memphis.edu Subject: Re: [Hornlist] Haydn Symphony No. 46 Interesting that most Haydn is B Alto and H Alto while there is plenty of B Basso in the works or Mozart, and I can only think of the two minor keyed symphonies where there is B Alto. Mozart wrote a few symphonies in Bflat...24 and 33 I know..are those in B Alto?..both were written around the same time as Haydn's middle symphonies. So when and how did the B Basso crook make its appearance? Thanks LT _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
