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Alphorn

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Alphorn
Alphorn, Staatliches Institut für Musikforschung, Berlin
Brass instrument
Classification
Hornbostel–Sachs classification423.121.12
(End-blown straight labrosones with mouthpiece[1])
Eliana Burki playing the alphorn at the Bardentreffen festival in Nuremberg 2009.

The alphorn (German: Alphorn, Alpenhorn; French: cor des Alpes; Italian: corno alpino) is a traditional lip-reed wind instrument originating from the European Alps. It consists of a very long straight wooden natural horn, with a length of 3 to 4 metres (9.8 to 13 feet), a conical bore and a wooden cup-shaped mouthpiece. Traditionally the alphorn was made in one piece from the trunk of a young pine.[2] Modern alphorns are usually made for easier transport and handling in three detachable sections, carved from blocks of spruce.[3] The alphorn is used by rural communities in the Alps, particularly in Switzerland. Similar wooden horns were used for communication in most mountainous regions of Europe, from the Alps to the Carpathians.[2]

History

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Alphorn player in Nendaz, Wallis, Switzerland.

For a long time, scholars believed that the alphorn had been derived from the Roman-Etruscan lituus, because of their resemblance in shape, and because of the word liti, meaning Alphorn in the dialect of Obwalden.[citation needed] There is no documented evidence for this theory however, and also the word liti was probably borrowed from 16th–18th century writings in Latin, where the word lituus could describe various wind instruments, such as the horn, the crumhorn, or the cornett. Swiss naturalist Conrad Gesner used the words lituum alpinum for the first known detailed description of the alphorn in his De raris et admirandis herbis in 1555. The oldest known document using the German word Alphorn is a page from a 1527 account book from the former Cistercian abbey of St. Urban near Pfaffnau, mentioning the payment of two Batzen to an itinerant alphorn player from the Valais.

The 17th century music scholar Michael Praetorius mentions an alphorn-like instrument under the name of Hölzern Trummet ("wooden trumpet") in his treatise Syntagma Musicum (1614-1620).[4] 17th–19th century collections of alpine myths and legends suggest that alphorn-like instruments had frequently been used as signal instruments in village communities in ancient times, sometimes instead of church bells. Surviving artifacts from around 1400 include wooden labrosones in their stretched form, like the alphorn, or coiled versions, such as the Büchel and the Allgäuisches Waldhorn or Ackerhorn. The alphorn's exact origins remain indeterminate, and the ubiquity[dubious – discuss] of horn-like signal instruments in valleys throughout Europe may indicate a long history of cross influences regarding their construction and usage.

Construction and qualities

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Detail of the end of an Alphorn

The alphorn is carved from solid softwood, usually pine or spruce. Traditionally, the alphorn maker would find a tree growing on a slope and bent at the base providing the curved shape for the bell. The long trunk would be cut in half longways, the bore hollowed out, then glued and bound back together with outer layers of stripped bark. Modern instruments are made in several sections for more convenient handling and transport, each turned and bored from solid blocks of spruce. An integrated cup-shaped mouthpiece was traditionally carved into the narrow end, while modern instruments have a separate removable mouthpiece carved from hard wood.[2]

An alphorn made at Rigi-Kulm, Schwyz, and now in the Victoria and Albert Museum, measures 8 feet (2.4 m) in length and has a straight tube. The Swiss alphorn varies in shape according to the locality, being curved near the bell in the Bernese Oberland.[4]

The alphorn is a simple tube with no lateral openings or means of adjusting the pitch, so only the notes of the natural harmonic series are available.[4] As with other natural labrosones, some of the notes do not correspond to the Western equal tempered chromatic scale, particularly the 7th and 11th partials.

Accomplished alphornists can command a range of nearly three octaves, consisting of the 2nd through the 16th partials. The availability of the higher tones is due in part to the relatively small diameter of the bore of the mouthpiece and tubing in relation to the overall length of the horn.

The well-known "Ranz des Vaches" (score; audio[dead link]) is a traditional Swiss melody often heard on the alphorn. The song describes the time of bringing the cows to the high country at milk making time.[clarification needed] Rossini introduced the "Ranz des Vaches" into his masterpiece William Tell, along with many other melodies scattered throughout the opera in vocal and instrumental parts that are well-suited to the alphorn. Brahms wrote to Clara Schumann that the inspiration for the dramatic entry of the horn in the introduction to the last movement of his First Symphony was an alphorn melody he heard while vacationing in the Rigi area of Switzerland. For Clara's birthday in 1868 Brahms sent her a greeting that was to be sung with the melody.

Repertoire

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The military band of the French Chasseurs Alpins uses alphorns.
Grindelwald Alphorn players

Among music composed for the alphorn:

  • Concerto Grosso No. 1 (2013) for four alphorns and orchestra by Georg Friedrich Haas[5][6]
  • Sinfonia pastorale for corno pastoriccio in G (alphorn) and string orchestra (1755) by Leopold Mozart
  • Concerto for alphorn and orchestra (1970) by Jean Daetwyler
  • Concerto No. 2 for alphorn (with flute, string orchestra and percussion) (1983) by Daetwyler
  • Dialogue with Nature for alphorn, flute, and orchestra by Daetwyler
  • Super Alpen King for three alphorns and orchestra by Ghislain Muller (2001) VSP orkestra / Arkady Shilkloper, Renaud Leipp
  • Concertino rustico (1977) by Ferenc Farkas
  • Begegnung for three alphorns and concert band, by Kurt Gable.
  • Säumerweg-Blues (audio played by Kurt Ott) among many compositions by Hans-Jürg Sommer, Alphorn Musik
  • Messe for alphorn and choir by Franz Schüssele Alphorn-Center
  • Erbauliche Studie für 12 Alphörner in Abwesenheit von Bergen by Mathias Rüegg (1998)
  • Wolf Music: Tapio for alphorn and echoing instruments (2003) by R. Murray Schafer[7]
  • Le Berger fantaisiste for three alphorns and orchestra by Ghislain Muller, Arkady Shilkloper, Renaud Leipp, Serge Haessler, VSP orkestra (2001)
  • Bob Downes & The Alphorn Brothers (2015) by Bob Downes Open Music (CD rec. 2004)
  • Concerto for alphorn in F and orchestra by Daniel Schnyder (2004)
  • Matterhorn (a prelude for alphorn and wind orchestra) by Robert Litton (2013)
  • Alpine Trail for alphorn and orchestra by Arkady Shilkloper
  • Alpine Sketch" for alphorn and big band by Arkady Shilkloper
  • Lai nair for alphorn and contrabass by John Wolf Brennan (2015)
  • Der Bergschuh for alphorn and marching band by Daniel Schnyder
  • Crested Butte Mountain for alphorn and wind band (or brass sextet, strings, or horn septet) by Arkady Shilkloper
  • Robin for alphorn and wind band (big band) by Arkady Shilkloper
  • Fanfare for four alphorns by Arkady Shilkloper
  • Tanz der Kuhe by Carlo Brunner/Lisa Stoll
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Alphorn players at German Fest 2023 in Milwaukee

See also

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References

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  1. ^ "End-blown straight labrosones with mouthpiece". Hornbostel-Sachs (classification). Musical Instrument Museums Online (MIMO). Retrieved 10 November 2024.
  2. ^ a b c Campbell, Murray (2019). "Alphorn". In Trevor Herbert; Arnold Myers; John Wallace (eds.). The Cambridge Encyclopedia of Brass Instruments. Cambridge: Cambridge University Press. p. 18-20. doi:10.1017/9781316841273. ISBN 978-1-316-63185-0. OCLC 1038492212. OL 34730943M. Wikidata Q114571908.
  3. ^ "The Making Of An Alphorn". www.nendazcordesalpes.ch/en. Valais drink pure. Archived from the original on 29 October 2021. Retrieved 13 October 2021.
  4. ^ a b c  One or more of the preceding sentences incorporates text from a publication now in the public domain: Schlesinger, Kathleen (1911). "Alpenhorn, Alphorn". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 1 (11th ed.). Cambridge University Press. p. 723.
  5. ^ "Georg Friedrich Haas". Universal Edition. Archived from the original on 8 February 2017. Retrieved 28 December 2016.
  6. ^ "EAM: Georg Friedrich Haas's Concerto Grosso No. 1 Debuts with Bavarian Radio Symphony Orchestra". European American Music Distributors Company. 25 February 2014. Retrieved 28 December 2016.
  7. ^ Biggs, Charlene (2003). "R. Murray Schafer". CAML Review. 31 (1). Canadian Association of Music Libraries, Archives and Documentation Centres: 46–47.
  8. ^ "By The Way ; Come Blow Your Horn". The New York Times. Retrieved 13 October 2021.
  9. ^ Vitaliev, Vitali. "The technology of Alphorn design". eandt.theiet.org/. E&T (Engineering & Technology). Retrieved 8 December 2021.

Further reading

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  • Bachmann-Geiser, Brigitte, Das Alphorn: Vom Lock- zum Rockinstrument. Paul Haupt, Berne, 1999. ISBN 3-258-05640-4
  • Franz Schüssele, Alphorn und Hirtenhorn in Europa, book and CD with 63 sound samples available at Alphorn-Center, ISBN 3-927-78121-5
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