Horn Teaching at the Paris Conservatoire, 1792 to 1903 : The Transition from Natural Horn to Valved Horn (Hardcover)

Chapter 1 Introduction Overview of the Problem The Structure of this Book Chapter 2 Early Horn Tutors in France, the Formation of the Conservatoire, and the Conservatoire’s First Horn Teachers Mid- to Late Eighteenth-Century Horn Tutors in France The Formation of the Conservatoire Horn Teaching at the Conservatoire 1802-1842 Summary of Teaching Methods and the State of Horn Playing in Paris, 1830 Backdrop for Music in Paris and at the Conservatoire in 1830 Chapter 3 Valved Brass Instruments in Paris The Arrival and Application of Valve Technology in France Horn parts in Halevy’s La Juive Hector Berlioz and his Traite d’instrumentation A Word on Further Developments in Valve Technology in Germany Chapter 4 Hand and Valve: Joseph-Emile Meifred, Jacques-Francois Gallay and Horn Teaching at the Conservatoire 1833-1863 Joseph-Emile Meifred Meifred’s Methode Gallay and the Natural Horn at the Conservatoire 1833-1863 Chapter 5 Other Valved Horn Activity in Paris: Two Valves or Three? Georges Kastner Donatien Urbin Other Parisian Valved Horn Methods in the 1840s Chapter 6 Late Nineteenth-Century Developments at the Conservatoire Mohr, Gallay’s Successor The Valved Horn in Paris in the 1860s, 1870s, and 1880s Garigue, Chaussier, and the Panel Comparison of 1891 Francois Bremond and the Final Transition to Valved Horn Summary Chapter 7 Applications to Performing Practices and Hand and/or Valve Today The Aesthetics of Stopped Notes The Natural Horn, Stopped Notes, and Musicality The Valved Horn Conundrum Performing Practices for Valved Horn Conclusion Appendices Appendix 1: Foreign Language Quotations Appendix 2: Writings and Compositions of Joseph-Emile Meifred