Horn Teaching at the Paris Conservatoire, 1792 to 1903 The Transition from Natural Horn to Valved Horn

Chapter 1 Introduction

Overview of the Problem

The Structure of this Book

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

The Arrival and Application of Valve Technology in France

Horn parts in Halévy's La Juive

Hector Berlioz and his Traité d'instrumentation

A Word on Further Developments in Valve Technology in Germany

Joseph-Émile Meifred

Meifred's Méthode

Gallay and the Natural Horn at the Conservatoire 1833-1863

Georges Kastner

Donatien Urbin

Other Parisian Valved Horn Methods in the 1840s

Mohr, Gallay's Successor

The Valved Horn in Paris in the 1860s, 1870s, and 1880s

Garigue, Chaussier, and the Panel Comparison of 1891

François Brémond and the Final Transition to Valved Horn

Summary

The Aesthetics of Stopped Notes

The Natural Horn, Stopped Notes, and Musicality

The Valved Horn Conundrum

Performing Practices for Valved Horn

Conclusion

Appendix 1: Foreign Language Quotations

Appendix 2: Writings and Compositions of Joseph-Émile Meifred