The horn, whose invention goes back to a very early period, only dates from the middle of the seventeenth century as an orchestral instrument. German composers were the first to use it in their scores. The subsequent improvements in its form, and in the way it was played by artists, did not take long to bring about an appreciation in France of the advantages that this instrument could offer. Finally, in 1757, it was introduced for the first time into the orchestra of the Grand Opéra.
From this last period onwards several Methods of the French Horn have appeared; some by little-known men, others composed by artists as distinguished by their talent as by the rank they occupied in the most famous musical institutions of Paris.
Many of these works have undeniable merit: many parts are skilfully treated, and, on several subjects, one finds in them accurate and profound observations, which experience has confirmed, as well as useful lessons, the fruit of intelligent and painstaking practice. However, all these Methods, in my opinion, do not exactly fulfil their purpose, because they are not elementary, and because they have not been able to reduce the first principles to all the simplicity that a more rigorous analysis and a deeper understanding can give them. Hence it follows that the first lessons present too many difficulties, and embrace such an enormous scope, that many pupils, even with extraordinary natural faculties, are unable to cover it, and find themselves discouraged from the outset, and sometimes abandon an instrument for which they may have had a real vocation.
The most essential quality of a method must be clarity, and this quality is obtained by simplifying the difficulties and by exposing them successively in the order in which they belong. This is the only way in the arts of knowing their true elements, of identifying and presenting their first principles, and consequently of making their study easier and their teaching clear and methodical; then, the student’s mind, which understands with ease, and perceives with accuracy, is no longer stopped by difficulties which are otherwise often insurmountable.
I have re-established in my Method the old name of Premier Cor (or First Horn), adopted by Punto, Kenn, Domnich, F. Duvernoy, etc., and for which Mr. Dauprat thought it necessary to replace the term with Cor_Alto. Here are my reasons: The expressions Cor_Alto and Cor_Basse, although very reasonable, have the disadvantage, in the eyes of many performers, of modifying, without any real benefit, names that are familiar to everyone, and which, for that reason alone, have continued to be preferred by them. The following fact may support this opinion. In the twenty years or so since Mr. Dauprat’s Méthode was published, his innovation has failed to convince composers to use the terms adopted by this professor, whose pupil I am honoured to be, in their scores, and they have all continued to write Premier Cor, Second Cor (First Horn, Second Horn).
These denominations of First and Second Horn, have, it seems to me, nothing vague and do not present, as Mr. Dauprat thinks, a prejudicial misunderstanding for the Second Horn, by making believe that the latter name, instead of indicating a particular type, would imply a degree of inferiority in the talent of the artist. and Mr. Dauprat adds here: This idea could all the more be accredited, as some FIRST HORNs, by interest, by vanity, or even by these two motives, have often taken advantage of it to the detriment of their comrades.
And first of all, what did these two words have to do with it: self-interest, vanity? One is First Horn, it seems to me, just as one is First Violin, First Oboe. (1) This title has always been used to establish a classification of order, a sort of hierarchy in orchestras, and not to give prominence to vile interests, foolish vanities.
(1) The comparison lacks a certain accuracy if we consider each instrument in relation to its own body. M. Dauprat says that the First and Second Horns are two instruments, or at least two people, one of whom, covering the range of the high and middle tones of the Horn, played the upper part and was called FIRST HORN; and the other of whom, covering the middle and low tones, played the lower part and was called SECOND HORN.
Let us suppose that, through one of these petty feelings of the soul, or, as M. Dauprat puts it, through both at once, an artist has usurped the title of First Horn; what can be the result? One could just as well suppose feelings of personal interest and vanity in the person who takes the title of Cor_Alto next to his second Cor_basse, and things would be no better or worse. So let us not argue about words. What should be noted here is that composers generally give the First Horn a much more difficult task than the Second Horn, for it is almost always to him that they entrust the Solo parts of an often difficult part, which requires him to keep a constant eye on himself, in order to maintain all his means to achieve a satisfactory performance of his part.
It should also be noted that the natural faculties with which one must be endowed in order to play the First Horn successfully are not all absolutely indispensable for playing the Second; also many artists, after having been devoted from their youth to the position of First Horn, have been obliged, in later life, to abandon this position, for which their physical strength was no longer sufficient, in order to restrict themselves to that of Second Horn, and have fulfilled this position for a long time still with success.
I therefore believe that if, in summary, the first horns may have thought that their job was in some way more difficult than that of the second, they owe this conviction more to their work and experience than to the title that Mr Dauprat would like to reject. I do not think that another name, that of Cor_Alto, for example, could change their conviction in this matter.
I have therefore thought it necessary to respect the terms, which have been used up to the present day by old and modern composers, for horns as well as other instruments of the orchestra, which are all classified as First and Second.
But let’s return to our topic. Given that a prior knowledge of Solfeggio is indispensable to anyone wishing to study the French Horn, my Method will not contain elementary principles of music as such. The Horn, lacking the advantage of fingering enjoyed by other wind instruments, requires of the player not only a good musical organisation, but also a theoretical knowledge of music, which allows him, before emitting the first sound on the instrument, to solfy with ease and accuracy.
Although few people have enough perseverance to undertake this preliminary study, the best teachers have recognised it as indispensable to accelerate progress on this instrument. I would add that if, neglecting this advice, one were to pass immediately to the study of the mechanism, without having made vocal music a regular activity for at least six months, it would be impossible to achieve, despite much greater effort, any result other than an often imperfect playing and a most mediocre execution. I thought that a few easy duets, interwoven with the scales, would be suitable to reduce the dullness and monotony of the preliminary exercises, by giving the students more enthusiasm for the work, and by accustoming their ears to melodic intermissions. These duets will also teach them the art of regulating breathing, and will introduce them to exercises where singing and accompaniment are combined.
For beginners, I think it is necessary to introduce the low tones and especially the high tones, which are quite tiresome to play on the horn, only gradually and as the student progresses in the scales, he will feel more strength in his lips and greater ease of articulating with his tongue.
Finally, I aimed, as you will see, in writing this method, to present the instructions with clarity and simplicity, convinced, as I must be, that the students will be able to follow me step by step in the presentation of the progressive challenges that I have set for them. I will therefore be very pleased if this work, the fruit of a long experience, can gain some measure of success, and contribute to guiding those who will use it in a career to which I have dedicated my whole life.