Stephen Lawson

              Many horn teachers have had the experience of hearing an end-of-semester jury performance of a horn concerto movement by W. A. Mozart (1756-1791) on instruments such as tuba, euphonium or saxophone. Granted, all college level music students deserve the opportunity to learn style elements of 18th century composers. While the notes and techniques are within the level of the young performer, something doesn’t sound quite right.  However, before we become too critical, we should consider that the modern valve horn was not invented until c. 1811 - 1814 and the double horn not invented until c. 1897.  Though valves were available, the dominant horn related pedagogy at the Paris Conservatory was hand-horn technique until 1903.  While one hears many wonderful performances of music from the 18th and 19th centuries on modern instruments, these performances do not represent music for horn as it was heard nor conceived by composers when it was written.  Understanding philosophical thought and undeveloped technology provides modern persons with greater understanding of music composition more closely to when written. 
             During the 18th and 19th century, composers wrote pieces for horn as part of their training.  When composing for keyboard or string instruments, composers could write anything that they imagined, as performers had the ability to produce those sounds on their instruments.  However, the horn required that composers compose the majority of notes according to the natural overtones or Harmonic Series.  By using one’s hand in the bell, performers could lower or flatten the pitch of notes of the Harmonic Series to produce notes one half-step lower and/or a whole-step lower.   
            During the 18th century, horn performance appealed to the sentiments of the nobility as it combined music with hunting.  Hunting horns, used as signal instruments, often performed as ensembles after a day’s hunt.  These were refined with: crooks for a variety of keys, tuning slides, and tube and bell contour shaping.  These were eventually incorporated into the orchestra and eventually used as solo instruments.  Additionally, there was a realization of man’s overcoming forces of nature.  This concept was a significant idea of the Age of Enlightenment, or Age of Invention.   Horn players were recognized as producing those tones available as members of the natural overtone series or Harmonic Series and additional tones.  
            A tremendous amount of music was composed for horns without valves.  Consider a horn performer in the 18th century facing the audience with the bell facing backwards.  While performances on piano or strings would have many visual cues, it would appear that the horn performer was doing little more than blowing air into a tube.  The effect must have been (and still is) quite magical.  
            A modern appeal towards understanding history is through reenactments.  Various reenactments of battles of American Revolutionary War and Civil War, actors portraying historical figures, recreating historical sites such as Williamsburg, Jamestown, Fort Lincoln (Custer’s last fort,) help modern audiences learn about events and how people of a certain time lived and dealt with a myriad of life circumstances.  Certainly one can read about these events in a book, see a movie, or search the Internet.  However, watching a blacksmith use a forge, or a peruke maker stitch a wig, and be able to ask questions of the reenactor, creates a different level of understanding for an audience.  An even greater level of understanding is created when one strives to become the expert reenactor.  
            Similarly with music, seeing and hearing a modern performance of early music by performers who have learned to play historical instruments in a stylistically informed manner gives an audience a greater understanding of music when it was written.  Those performers, through study, practice, and energy, have learned to solve many problems that remain mysteries to most.  
            Similar to reenactments, one encounters many levels of zeal in recreating a certain time or place.  Imagine a Revolutionary War reenactment in which soldiers are required to wear wool suits on a very hot day, forbidden modern devices, or wear modern eye glasses and exchange dentures for wooden teeth, cook on open fires using period utensils.  Some aspects may seem acceptable to most, even romantic.  While other aspects may seem impractical and of limited significance.  Within certain limits, each performer determines the level in which they can recreate history.  Practical limitations may determine outcomes for a certain performance.  However, once recognized, it may be possible to solve a few issues and create a greater level of reenacting at a future performance.  
            In actuality, one can never totally recreate a time or event, as various circumstances or aspects preclude the possibilities of their recreation.  Numerous time-travel related stories and movies make these aspects and circumstances entertaining.  Real life circumstances, such as availability of keyboard instruments, tunings, finding others to share performing, may limit opportunities in your personal situation.  While it is possible to perform using hand horn techniques on many modern valve horns, it is difficult for an audience to understand why you are doing such a thing, as you have valves at hand.  
            Other challenges to reenacting earlier music performances may include using nonelectric lighting.  Very few venues will allow enough candle light to actually see music.  If you can find costumes of your desired period, this will add a great deal of authenticity and panache to the event, but also additional cost.  String instruments easily tune to different levels.  However, getting string performers to use gut strings and Baroque bows may present additional problems.               
           Many large cities offer opportunities for seeing, hearing and participating in historically informed performances.  There are period orchestras that specialize in historically informed performances in many European cities and a few cities in the United States.  Several of these are connected to a particular festival.  Music programs at Indiana University, Eastman School of Music and Julliard School of Music, and various festivals are training the next generation of historically informed performers in pedagogy, techniques and instrument building.  In the age of marching bands and popular music, it is not likely that music will generally shift towards historical reenactments.  However, there is a small but growing interest in creating historically informed performances.