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Le 6ème rassemblement des cornistes 2025

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Le 6ème rassemblement des cornistes 2025

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Le compte rendu de notre rassemblement du 23 novembre 2025 au CRR de Toulouse

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CR rassemblement cornistes Toulouse 23_11_25

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CR rassemblement cornistes Toulouse 16:12:19 

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Compte rendu Concours de cor René Vidalot Foix 2024

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Compte rendu Concours de cor René Vidalot Foix 2024

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CR Complet Concours René Vidalot FOIX 2024

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Par des solistes et orchestres du monde entier.

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solos trompa orquesta repertorio orquestal french horn orchestral excerpts corni

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Welcome all horn fanatics! Here you will find a lot of different horns excerpts to help you prepare your auditions or just to enjoy the horn! Hope you like it!

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2 ème concerto de Strauss par

Yun Zeng, Pascal debuter et Ivo Dudler

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Un stage organisé par le célèbre quatuor HORNormes en avril habituellement.

Attention les places sont rares surveillez la mise à jour de leur site!

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Les prochains concerts et spectacles du quatuor.

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Du 19 au 21 septembre 2025 dans le nord de la Suisse avec parmi les plus grands cornistes du monde !

L'occasion aussi de découvrir des grands professeurs allemands et suisses.

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19. – 21. September 2025 I Kantonsschule Solothurn I Leitung: Andreas Kamber

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Un portrait de Georges Barboteu, grand corniste français, agrémenté d’images d’archives personnelles et d’un entretien. Une œuvre de celui-ci est dirigée à la fin par lui-même et interprétée par la classe de cor d’André Cazalet.

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Entretien avec Georges Barboteu par André Cazalet

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Un portrait de Georges Barboteu, grand corniste français, agrémenté d'images d'archives personnelles et d'un entretien. Une œuvre de celui-ci est dirigée à la...

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https://www.francemusique.fr/emissions/au-coeur-de-l-orchestre/les-grands-cors-solos

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Grand soliste, pionnier dans les enregistrements, a redécouvert le cor naturel...

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BACH - MASS IN B-MINOR - KARL RICHTER (Quoniam tu solus sanctus, Cum Sancto Spiritu)

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Incontournable...

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Mozart Horn Concertos / Dennis Brain / Philharmonia Orchestra, Herbert von Karajan

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Immense soliste qui nous a quitté récemment.

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cor solo à l’Orchestre Philharmonique de Monte-Carlo

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Patrick Peignier dans le concerto de Cor(horn) de Michel Allegrini. 2° mouvement

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Strauss 1er mvt concerto pour cor Patrick Peignier Orchestre Philharmonique Besançon

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Hervé Joulain, né en 1966 à Saint-Romans-lès-Melle ( Deux-Sèvres), est un corniste français.

Premier cor super-soliste de l' Orchestre philharmonique de Radio France sous la direction de Marek Janowski dès l'âge de 20 ans, Hervé Joulain a très tôt joué sous la direction de Leonard Bernstein, Zubin Mehta, Daniel Barenboïm, Pierre Boulez, Lorin Maazel, Armin Jordan, Seiji Ozawa, Riccardo Muti, Carlo Maria Giulini. Dix ans plus tard, il est promu au même poste de l' Orchestre national de France de Charles Dutoit. Aujourd'hui, il a rejoint Lorin Maazel comme premier cor au sein de la Filarmonica Toscanini à Parme.

Hervé Joulain est également membre de l' Octuor à vent Paris Bastille avec lequel il se rend régulièrement à l'étranger. Il a déjà enregistré une vingtaine de CD.

Sa carrière de chambriste l'a aussi amené à se produire avec notamment Paul Tortelier, Yuri Bashmet, Pierre Amoyal, Vadim Repine, Michel Dalberto, Boris Berezovsky, Boris Belkin, Pinchas Zukerman, Natalia Gutman, Gidon Kremer, en France et dans le monde.

Après avoir enseigné au CNSMD de Paris, Hervé Joulain se consacre aujourd'hui à des master-classes, partout en France ainsi qu'au Brésil, en République tchèque, au Canada et en Finlande.

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Hervé Joulain, né en 1966 à Saint-Romans-lès-Melle ( Deux-Sèvres), est un corniste français. Premier cor super-soliste de l' Orchestre philharmonique de Radio France sous la direction de Marek Janowski dès l'âge de 20 ans, Hervé Joulain a très tôt joué sous la direction de Leonard Bernstein, Zubin Mehta, Daniel Barenboïm, Pierre Boulez, Lorin Maazel, Armin Jordan, Seiji Ozawa, Riccardo Muti, Carlo Maria Giulini.

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차이콥스키, 교향곡 제5번 Seoul Philharmonic performing Thcaikovsky, Symphony no.5

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Brahms’s 2nd Symphony, Horn Solo 2nd Mov.

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Laurent Couson - The Rest is Silence. Hervé Joulain - Orchestre National de France

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Interview de Benoît de Barsony - Orchestre de Paris

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Benoît de Barsony

Premier cor solo

Premier prix à l'unanimité du Conservatoire national supérieur de musique de Paris dans la classe d'André Cazalet en 2005, Benoit de Barsony devient dès l'année suivante cor solo de l'Orchestre de Paris, sous la direction de Christoph Eschenbach.
Sa carrière l'amène très tôt à se produire en soliste avec orchestre, à la Salle Pleyel avec l'Orchestre de Paris sous la direction de Christoph Eschenbach et Paavo Järvi, au Victoria Hall et au Festival de Rheingau avec l'Orchestre de Chambre de Genève, à la Grange au Lac avec l'Orchestre des Pays de Savoie, au Kursaal avec l'Orchestre de Besançon...
Reconnu pour ses qualités de chambriste, Benoit de Barsony parcourt l'Europe pour jouer dans de nombreux festivals parmi lesquels, le Festival de la Chaise-Dieu, le Festival de l'Emperi, le Festival de Kuhmo (Finlande), le Stift Chamber Music Festival (Hollande), le Festival Classic con Brio (Allemagne), Easter Holidays in Dusseldörf (Allemagne) en compagnie de musiciens tels que Paul Meyer, Éric Le Sage, Guy Braunstein, Daishin Kashimoto, François Leleux, Emmanuel Strosser, Emmanuel Pahud...

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Interview de Benoît de Barsony - Orchestre de Paris

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Retour Premier cor solo Premier prix à l'unanimité du Conservatoire national supérieur de musique de Paris dans la classe d'André Cazalet en 2005, Benoit de Barsony devient dès l'année suivante cor solo de l'Orchestre de Paris, sous la direction de Christoph Eschenbach.

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Aujourd'hui nous vous présentons votre 4ème et dernier professeur de Cor CPB 2020, M. De BARSONY :

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Der Klang macht die Musik

Wenn immer es darum geht die Qualität eines Musikinstruments zu beurteilen, steht ein Faktor immer an erster Stelle - der Klang. Musikinstrumente von Gebr. Alexander haben einen charakteristischen Klang, den das geübte Ohr aus der Vielzahl unterschiedlicher Instrumente heraushört - den Alexander-Klang. Der ausgewogene, harmonische Ton unserer Instrumente ist zum Maßstab vieler Metallblasmusiker geworden.

An der Perfektionierung des Klangs, der Spielbarkeit unserer Musikinstrumente und an der handwerklichen Herstellung in unserer Manufaktur in Mainz arbeitet unser Meisterteam in siebter Generation seit 1782. Nein, Perfektion gibt es nicht. Wir setzen aber dennoch alles daran, so nah wie möglich an das ultimative Musikinstrument heranzukommen.

Willkommen bei Gebr. Alexander

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Gebr. Alexander - Wir bringen Töne zum klingen

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Wenn immer es darum geht die Qualität eines Musikinstruments zu beurteilen, steht ein Faktor immer an erster Stelle - der Klang. Musikinstrumente von Gebr. Alexander haben einen charakteristischen Klang, den das geübte Ohr aus der Vielzahl unterschiedlicher Instrumente heraushört - den Alexander-Klang. Der ausgewogene, harmonische Ton unserer Instrumente ist zum Maßstab vieler Metallblasmusiker geworden.

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Bach Weihnachtsoratorium. Le OFF cors (musiciens de l'Orchestre de Paris)

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Final du Quintette K452 de Mozart - Albi Tons voisins 2010 - qobuz.com

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Our opening hours are 10.00-17.00 Monday to Saturday. In order to maintain social distancing we are continuing to do horn trials by appointment only. If you wish to come in and try some horns, please contact us to book one of our slots so as not to be disappointed.

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Benoit De Barsony présente un travail sur les trilles.

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German Music Instrument Award 2010 / 2015

For the 2nd time in a row, the Bb-Trumpet T053 Professional won the "German Music Instrument Award"!Especially in point of subjective evaluation of players, the trumpet could convince clearly in a distance to the other competitors.We are happy about this recognition, which we reached because of untiring development in details, in close collaboration with musicians and suppliers, and not least with the daily constructive work with our fantastic team.

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For the 2nd time in a row, the Bb-Trumpet T053 Professional won the "German Music Instrument Award"!Especially in point of subjective evaluation of players, the trumpet could convince clearly in a distance to the other competitors.We are happy about this recognition, which we reached because of untiring development in details, in close collaboration with musicians and suppliers, and not least with the daily constructive work with our fantastic team.

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Cor| premier soliste

Jean-Pierre Berry étudie le cor dès l'âge de 10 ans. À 16 ans, il est admis au Conservatoire national de Paris où il obtient les Prix de cor et de musique de chambre à l'unanimité du jury puis le Deuxième Prix du concours international pour instruments à vent de Toulon. En 1996, il remporte le concours de cor solo de l'Orchestre de Cannes, puis en 2000 celui de 1 er cor solo super soliste de l'Orchestre de l'Opéra de Nice et en 2003, celui de 1 er soliste de l'Orchestre de la Suisse Romande.

Il donne de nombreuses masterclasses en Slovaquie, au Brésil, en Chine, en France, au Japon et en Espagne. Depuis 2006, il est professeur à la Haute École de musique de Genève.

Jean-Pierre Berry s'est produit régulièrement en soliste avec l'Orchestre de Cannes (Mozart, Haydn, Britten), l'Orchestre philharmonique de Nice (Strauss), l'Orchestre de la Suisse Romande (Messiaen, Britten, Franck Martin), l'Orchestre de Dnipropetrovsk (Mozart), Karkhiv.

En musique de chambre, il est régulièrement invité dans les principaux festivals en France et à l'étranger. Citons aussi quelques partenaires : Paul Meyer, David Grimal, Nobuko Imaï, François-René Duchâble, Pierre-Yves Artaud. Il a été invité au Festival de Verbier pour la soirée Stars of the night, aux côtés de Ray Chen et Kirill Troussov.

Il est depuis 2016, avec Elodie Bugni, le cofondateur de l'Ensemble Chagall.

Jonathan Nott | Sergey Khachatryan

Concerto pour violon et orchestre

Enregistré le 30 juillet 2020 à/au Victoria Hall, Genève

LUDWIG VAN BEETHOVEN

Symphonie N°9

Enregistré le 30 juillet 2020 à/au Victoria Hall, Genève

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Cor| premier soliste Jean-Pierre Berry étudie le cor dès l'âge de 10 ans. À 16 ans, il est admis au Conservatoire national de Paris où il obtient les Prix de cor et de musique de chambre à l'unanimité du jury puis le Deuxième Prix du concours international pour instruments à vent de Toulon.

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3eme concerto de Mozart pour cor et Orchestre

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empresa dedicada a la fabricación y venta de instrumentos musicales de viento-metal con la marca genérica stomvi.

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Empresa dedicada a la fabricación y venta de instrumentos musicales de viento-metal con la marca genérica Stomvi.

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Après des études entreprises à l'âge de 7 ans sous la houlette de Paul CANTIN, Jacques DELEPLANCQUE s'affirme comme l'un des cornistes les plus talentueux du cor moderne.

Un cursus brillant auprès de Georges BARBOTEU au Conservatoire National Supérieur de Musique de Paris est récompensé́ par un Premier Prix à l'unanimité́ de cor et de musique de chambre.

Dès l'âge de 18 ans, il est nommé cor solo de l'Orchestre National de Lille (Jean Claude CASADESSUS). A 19 ans, il est reçu cor solo de l'Orchestre de la Communauté́ Européenne (Claudio ABBADO) et six mois plus tard, Pierre BOULEZ, enthousiasmé par son jeu, l'engage à l'Ensemble Intercontemporain pour douze années d'une collaboration au service d'un répertoire qui repousse toujours plus loin les limites de l'instrument. Il est ensuite soliste à l'Orchestre National de France.

Il se produit en soliste dans les plus grandes villes du monde et son parcours est jalonné d'enregistrements reconnus par les critiques. Il a eu la chance de travailler sous la baguette de chefs prestigieux : S. CELIBIDACHE, E. JOCHUM, L. MAAZEL, L. BERNSTEIN, S. OZAWA, R. MUTI...

Depuis 1995, il est supersoliste de l'Orchestre National du Capitole de Toulouse sous les directions successives de M. PLASSON et Tugan SOKHIEV. Passionné par la pédagogie, il transmet son savoir au Conservatoire National Supérieur de Musique de Paris. Il est membre du Quintette à vent de Paris.

Jacques DELEPLANCQUE joue sur un cor Hans Hoyer.

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Après des études entreprises à l'âge de 7 ans sous la houlette de Paul CANTIN, Jacques DELEPLANCQUE s'affirme comme l'un des cornistes les plus talentueux du cor moderne. Un cursus brillant auprès de Georges BARBOTEU au Conservatoire National Supérieur de Musique de Paris est récompensé́ par un Premier Prix à l'unanimité́ de cor et de musique de chambre.

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What our clients say

For many years now I have been familiar with the horns of Klaus Fehr (I play on a double horn). For me his instruments have the great capability of sounding noble and generous, but at the same time they offer a pleasant agility in playing. In addition, they possess the stability, strength and power necessary for daily professional use.

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What our clients say For many years now I have been familiar with the horns of Klaus Fehr (I play on a double horn). For me his instruments have the great capability of sounding noble and generous, but at the same time they offer a pleasant agility in playing.

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manual manufacturing of musical instruments

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Andreas Jungwirth brass instruments, manual manufacturing – www.jungwirth-horn.at

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Andreas Jungwirth - Manufacturing of Brass Instruments

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Andreas Jungwirth - Manual manufacturing of brass instruments. natural horn, Vienna Horn, Wagner Tuba, hunting horn, single descant horn in F,

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Esprit de cor(p)s - Le pupitre des cors de l'ONCT

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Interview de André Cazalet - Orchestre de Paris

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André Cazalet

Premier cor solo

André Cazalet obtient deux premiers prix au CNSMDP. Après avoir été soliste de l'Ensemble Intercontemporain de Pierre Boulez, il occupe depuis 1980 le pupitre de cor solo de l'Orchestre de Paris. Il mène parallèlement une carrière de soliste et se produit sous la direction de Christoph Eschenbach, Paavo Järvi, Semyon Bychkov, Wolfgang Sawallisch, Péter Eötvös, John Nelson, Antonio Pappano, etc. Partenaire de musique de chambre recherché, il s'est produit avec Daniel Barenboim, le Quatuor Talich, Pascal Rogé, Gérard Caussé, Maurice Bourgue, Katia et Marielle Labèque, Jean-Pierre Rampal, Emmanuel Pahud, Schlomo Mintz, Christoph Eschenbach, Pierre-Laurent Aimard, Christian Tetzlaff, Boris Berezovsky, Julian Rachlin, etc. Il est le dédicataire et le créateur de nombreuses pièces pour son instrument. Son enregistrement des trios pour piano, violon, cor de Brahms et Ligeti a reçu le Grand prix du Disque.
Nommé aux Victoires de la Musique en 2011, André Cazalet est Chevalier des Arts et des Lettres.

Son interview

Pourquoi avez-vous choisi le cor ?

Officiellement, parce que j'aime la sonorité du cor. Mais il existe une version plus romantique: je suis né à Pau, et c'est là que Vigny a composé son poème Le Cor qui commence par le vers: "J'aime le son du cor, le soir, au fond des bois".

Faites-vous des rêves ou des cauchemars en musique ?

Dans mes rêves, je perds souvent mes partitions. Et c'est exactement ce qui m'est arrivé l'été dernier au Festival Pablo Casals! Je jouais le Sextuor de Dohnányi et le quatrième mouvement était resté dans les coulisses. Il a fallu arrêter pour aller chercher la partition. C'était vivre un de mes pires cauchemars.

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Interview de André Cazalet - Orchestre de Paris

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Retour Premier cor solo André Cazalet obtient deux premiers prix au CNSMDP. Après avoir été soliste de l'Ensemble Intercontemporain de Pierre Boulez, il occupe depuis 1980 le pupitre de cor solo de l'Orchestre de Paris. Il mène parallèlement une carrière de soliste et se produit sous la direction de Christoph Eschenbach, Paavo Järvi, Semyon Bychkov, Wolfgang Sawallisch, Péter Eötvös, John Nelson, Antonio Pappano, etc.

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Players endorsements

Holton's early years

The turn of the last century foretold a new age in French horn craftsmanship when Frank Holton opened his third-floor two-room Chicago shop in 1898. Formerly first trombonist in Sousa's band, Holton achieved initial success with his revolutionary slide oil formula, Electric Oil, which is still popular today. Soon Holton began experiments to improve brasswind instrument design.

In 1917 Holton moved his company to Elkhorn, Wisconsin, where it has remained as the country's oldest continually operating wind instrument company.

New standards for excellence were set when G. Leblanc Corporation acquired Holton in 1964. This alliance has produced French horns recognized as the finest in the world, bearing such names as Collegiate, Slotspie, Farkas and Merker.

Philip Farkas

Philip Farkas's legendary career as a musician, teacher and author spans more than a half-century. As a youngster, he discovered the horn seren-dipitously, as it proved to be a more compact alternative to the tuba, which would not fit through the door of the streetcar that took him to school.

A chance meeting with executives from the Holton company and Farkas's desire for one French horn that would incorporate the good qualities of the many horns he was using led to the creation of Holton's initial Farkas model horn in 1958.

Farkas left the Chicago Symphony in 1960 to begin a distinguished teaching career at the University of Indiana, Bloomington. America's senior statesman of the horn retired from academia in the early 1980s, but continued to practice two to three hours a day until his death in December, 1992.

Ethel Merker

Ethel Merker's career spans over 50 years and encompasses nearly every musical experience imaginable. In fact, the Holton clinician has been something of a French horn-playing explorer, taking special pride in fitting in with whatever the job demands.

At age 18, Ethel was not only going to school at Northwestern University but holding down the first-horn chair with the NBC studio orchestra. Says Merker, "I was making $150 a week, and the Chicago Symphony only paid $90; the symphony played a 17-week schedule, and NBC was 52 weeks. To be working with the best in the business and to be treated like one of them, I was exposed to a world I didn't know existed."

A former member of the Chicago Symphony Orchestra, Ethel has also performed with the Boston Pops tour orchestra, the Berlin Radio Orchestra, the New York City Opera and the Chicago Lyric Opera, to name but a few. As a recording artist, she backed the Jackson Five, Diana Ross, Curtis Mayfield, Ramsey Lewis and John Denver. Her sound has filled commercials for McDonald's, Coca-Cola, United Airlines and on and on.

"My specialty is trying to expose young players to all kinds of music so they will be flexible in their playing instead of stodgy and rigid." Besides teaching, Ethel Merker does clinics, appears at festivals and freelances whenever there's a call for the lady with the horn.

Louis J. Stout

At age ten, Louis Stout regularly listened to the Chicago Symphony on the radio and vowed that one day he would play in that orchestra. Two years later, he took up the horn and, without initial instruction, learned to play the instrument that would be a companion for the rest of his life.

By age 16, Louis entered college as a horn student, but the start of World War II interrupted his education. After the war, and eleven years after first starting, he returned to college to teach horn and earn his bachelor's degree.

After graduation and four seasons with the Kansas City Symphony, Louis heard of an opening in the Chicago Symphony Orchestra, and he auditioned before director Fritz Reiner and hornist Phil Farkas. The pledge that he made to himself as a boy finally came true when the job was offered to him.

He played five seasons with Chicago and then started another phase of his career, teaching college. Because he was offered every job for which he auditioned, it never occurred to Louis that he might not get the position he sought at the University of Michigan. He got it, though, and 28 years later, in 1988, Professor Stout retired from a distinguished teaching career at that university.

"When I got my first Holton I felt as if I had owned and played it all my lfe. The notes were all there, the intonation was superb, and it was an accurate horn. I had not one minute of break-in time. It played so great from day one, I have used that horn ever since. I consider the Holton line of horns just what I want in sound, intonation and accuracy."

Mr. Stout's interest in the horn has lead to the acquisition of a vast collection regarded as one of the finest in the world. It is housed at the Schloss Kremsegg Brass Collection located in Linz, Austria. Lately, Louis has maintained an active roster of private students.

Lisa Ormston Bontrager

A virtuoso hornist, Lisa Bontrager may have defied the conventional career path of someone with her talent by not taking a seat in a first-class symphony orchestra, but choosing to dedicate herself to the teaching profession. An associate professor of horn at Pennsylvania State University, Lisa has the ability not only to demonstrate playing the horn to her students but to inspire them by her own beauty of musicianship. Testimony to her abilities is found in the quadrupling of horn-student enrollment since her arrival at Penn State.

As a sixth grader anxious to join the band, Lisa was introduced to the horn by a music retailer. By her senior year in high school, she was principal horn of the Michigan All-State Band, a member of the World Youth Symphony Orchestra at Interlochen's national music camp and had begun private lessons with Louis Stout.

"I love the velvety, warm sound of the H105. It is flexible in the low register as well as centered and focused; it makes passages so clean. Being versatile is the name of the game in my performance/ teaching job at Penn State. My H105 enables me to project a warm, full sound for solo engagements and deliver powerful, big tones for my orchestral playing."

Besides her performing and academic duties, Lisa serves on the advisory council for the International Horn Society and is an active endorser/clinician for Frank Holton Company.

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The turn of the last century foretold a new age in French horn craftsmanship when Frank Holton opened his third-floor two-room Chicago shop in 1898. Formerly first trombonist in Sousa's band, Holton achieved initial success with his revolutionary slide oil formula, Electric Oil, which is still popular today.

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[Figures de Notes] Le cor, mode d’emploi

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Les Cuivres Français, Thierry Caens, André Cazalet, Michel Becquet, Y... - Topic

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Together with the horn players of the Munich Philharmonic
the successful models 180K-JN and 201 were modified, revamped
and adapted to the ideal German orchestral sound.

Bob Ross Ulrich Haider Alois Schlemer
Modell 205 Modell 201-München Modell 180K-JN-München

Hubert Pilstl (not on the picture) is playing the model 180K-JN-München

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Together with the horn players of the Munich Philharmonic the successful models 180K-JN and 201 were modified, revamped and adapted to the ideal German orchestral sound. Bob Ross Ulrich Haider Alois Schlemer Modell 205 Modell 201-München Modell 180K-JN-München Hubert Pilstl (not on the picture) is playing the model 180K-JN-München

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DürkHorns - Hochwertige Hörner, Werkstatt und kompetente Fachberatung.

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a été cor solo de l’orchestre National de France et Professeur au Conservatoire Supérieur de Musique de Lyon à sa création en 1980.
Je n’ai pas beaucoup d'information sur ce Monsieur mais il fût un monsieur très attentionné avec ses élèves et beaucoup de chefs d’orchestre le plébiscitaient pour ses magnifiques solos dans l’orchestre.

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Diese Website verwendet Cookies, um dir das bestmögliche Nutzererlebnis zu biete. (This website uses Cookies to offer you the best possible user experience.) Cookie settings ACCEPT

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Diese Website verwendet Cookies, um dir das bestmögliche Nutzererlebnis zu biete. (This website uses Cookies to offer you the best possible user experience.) Cookie settings ACCEPT

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Georges Barboteu, né à Alger le et décédé le à Paris, est un corniste reconnu comme étant l'un des meilleurs de la seconde moitié du , et compositeur français.

Biographie

Fils d'un professeur de cor au Conservatoire d'Alger, il commence lui-même à en jouer à l'âge de neuf ans, et remporte le premier prix à onze. Il rejoint l' orchestre symphonique de la radio d'Alger à quatorze ans.

À la suite d'une rencontre avec Charles Munch, il commence en 1938 des études de composition.

En 1948 il intègre l' Orchestre national de France comme second soliste. Il entre au Conservatoire national supérieur de musique de Paris en 1950, dont il obtient le prix d'honneur la même année.

En 1951 il remporte le premier prix du Concours international d'exécution musicale de Genève. Il est le corniste principal des Concerts Lamoureux puis à partir de 1969 de l' Orchestre de Paris, à la demande du conseiller musical de l'époque, Herbert von Karajan. Il enseigne son instrument au Conservatoire national supérieur de musique de Paris de 1969 à 1989.

Il fonde en 1964 le quintette de cuivres Ars Nova avec les trompettistes Marcel Lagorce, Bernard Jeannoutot, Jacques Lecointre, le tromboniste Camille Verdier et le tubiste Élie Reynaud.

Parmi ses nombreux élèves, on compte André Cazalet, cor solo à l' Orchestre de Paris, Jacques Deleplancque, cor supersoliste de l' Orchestre National du Capitole de Toulouse.

Après avoir fait partie du conseil consultatif de l'International Horn Society entre 1976 et 1979, il en est élu membre honoraire en 1998.

Il a laissé une discographie importante, enregistrant nombre de pages de musique de chambre et de musique concertante, allant du à l'époque contemporaine.

Parmi ses enregistrements qui ont fait date dans l'histoire du disque, il faut citer le concerto pour cor de Michael Haydn, celui pour deux cors de Joseph Haydn, ainsi que le concerto en Ré de Télémann, tous enregistrés avec l'orchestre de chambre Jean-François Paillard.

Il faut citer également le concerto de Weber qui cumule toutes les difficultés techniques pour le cor, enregistré avec Theodor Guschlbauer.

La plupart de ses enregistrements ont été réalisés par la firme Erato.

Il écrivit des livres d'étude du cor, mais composa également une quarantaine de pièces pour cor seul ou avec d'autres instruments qui ont souvent servi dans les examens du Conservatoire.

Références

Liens externes

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Georges Barboteu, né à Alger le et décédé le à Paris, est un corniste reconnu comme étant l'un des meilleurs de la seconde moitié du , et compositeur français. Fils d'un professeur de cor au Conservatoire d'Alger, il commence lui-même à en jouer à l'âge de neuf ans, et remporte le premier prix à onze.

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"Made in Germany"

Dernières Nouvelles:

For the new CD with Hervé Joulain on the Tyxart label (€ 18,-) please just write us an email to Cette adresse e-mail est protégée contre les robots spammeurs. Vous devez activer le JavaScript pour la visualiser.

Video Collection: Engelbert Schmid explaining all relevant details in an easy, personal way:
Engelbert Schmid Master Class Hand Position and its influence on intonation and efficiency of the instrument Interview with Phil Myers Interview with Prof. Bruno Schneider Inauguration Concert 2005 with Phil Myers and his horn group
Je promets des informations très intéressantes.

Vous voulez entendre les cors de Engelbert Schmid?

Cliquez ici pour voir la boutique CD en ligne: http://www.horn-music.com/ Top solistes sur les Cors Engelbert Schmid
Engelbert Schmid
D'abord membre de l'Orchestre Symphonique de la Radio de Berlin et de la Philharmonie de Berlin, Engelbert Schmid devient cor solo de l'Orchestre de la Radio de Munich où il restera dix années. En 1980 E. Schmid expose ses cors d'harmonie en public pour la première fois. Et dès 1990, il fonde son atelier: maître artisan, il forme personnellement tous les fabricants d'instruments qui vont constituer son équipe.

Savoir et passion

Et d'emblée la diversité des modèles met en lumière le savoir-faire et la passion nés de l'expérience du corniste. Une diversité de modèles à la mesure des besoins et souhaits de chacun. Une de leurs caractristiques étant la combinaison en Mib aigu. Les positions Sib de tous les cors Engelbert Schmid peuvant être abaissées en position La et élevées en position Si. Le cor Si naturel va vous permettre de jouer des passage en mi avec le même doigté que s'ils étaient en Mib (le concertino de Weber, le concerto de Danzi, Fidelio, l'Ouverture de la Pie Voleuse, Cosi fan tutte entre autres...).

Des secrets du son

Les cors Engelbert Schmid se font en cinq dimensions de pavillon: étroit, "kompakt", moyen ( = "golden cut" ), large et "Hollywood Sound". La différence entre les moyens et larges réside uniquement dans la conicité de la cloche et les plus demandés sont les "kompakt", "golden cut" et larges. Il vous suffit donc d'équiper votre cor d'un deuxième pavillon dévissable pour pouvoir alterner en fonction de la partition, choix déjà adopté par de nombreux cornistes. Pour ajouter encore à la palette sonore, nous vous proposons quatre alliages différents (laiton, cuivre rose, maíllechort et argent sterling massif) ainsi qu'un pavillon avec couronne si vous le souhaitez. A moins que vous n'optez pour le pavillon fabriqué suivant la difficile tradition historique: à partir d'une seule pièce puis martelé à la main. Si bien les dimensions de tous nos pavillons se basent sur leurs antécédents historiques, la mise au point scientifique dans la finition apporte aujourd'hui une richesse d'atouts supplémentaires: un son plus noble, plus clair, plus rayonnant et aussi plus varié, un instrument qui gagne en efficacité, en précision, en fiabilité et en justesse. Vous avez à présent un instrument plus répondant qui vous incitera à moduler et à créer. E. Schmid a su, grâce au talent qui lui est propre, percer tous les secrets de l'esthétique du son.
Engelbert Schmid: une référence désormais incontournable !

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For the new CD with Hervé Joulain on the Tyxart label (€ 18,-) please just write us an email to Cette adresse e-mail est protégée contre les robots spammeurs. Vous devez activer le JavaScript pour la visualiser.

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Das Waldhorn nimmt in der Gruppe der Hörner eine besondere Stellung ein. Der typische Klang und der große Tonumfang bedingen eine große Länge und eine verhältnismäßig enge Mensur, die in ein großes Schallstück ausläuft.

Das Mundstück des Waldhorns hat eine besondere Form. Es ist nicht wie bei den anderen hornartigen Instrumenten mit einem Kesselmundstück ausgestattet, sondern mit einem Trichtermundstück, dessen Form, wie der Name schon sagt, einem Trichter ähnlich ist.

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Das Waldhorn nimmt in der Gruppe der Hörner eine besondere Stellung ein. Der typische Klang und der große Tonumfang bedingen eine große Länge und eine verhältnismäßig enge Mensur, die in ein großes Schallstück ausläuft. Das Mundstück des Waldhorns hat eine besondere Form.

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Concerto for 2 Horns in E flat major : I Allegro maestro

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Patterson Hornworks is one of the premier Custom Horn builders in America. Located in Las Cruces, NM, our horns are very well known among professional players and are currently being played in the Metropolitan Opera as well as major Symphony Orchestras worldwide.

Patterson Hornworks offers 3 models of Double Horns, as well as Descant and Triple Horns, 11 models overall. Originally based in Los Angeles, ours was the premier brass repair shop and provided services to everyone from Hollywood recording artists to symphony musicians and freelance players. It was there that we developed our first custom horn, a Kruspe Model which was widely used in numerous movies and other recordings. In 2005, we moved our workshop to Las Cruces, New Mexico in order to expand our designs and to focus on horn making.

We use only the finest materials and expertly assemble each horn with great care to insure quality and to create the best playing and sounding horns available. Attention to the smallest detail ensures consistently outstanding instruments. We never compromise our process. Each instrument is built to the highest standards possible.

Jim Patterson, the creative force behind Patterson Hornworks, started the business in Los Angeles in 1997. In the early 90's he began to build his reputation as a leading brass technician. Since then Jim has designed numerous mouthpieces, horn modifications, and custom horns and with the help of his talented staff, has built over 300 Patterson Custom Horns since 2001. He plays principal horn with the Las Cruces New Horizons and is also a member of the Orchestral Board. He plays regularly with the Roswell Symphony and occasionally with the El Paso and Las Cruces Symphonies.

Cora Patterson joined her husband Jim full time in the horn business in 2001. In addition she performs regularly with the Roswell Symphony and the Las Cruces New Horizons orchestra. She occasionally plays substitute horn with the El Paso Symphony.

Phil Patterson joined our company in 2008. He is now our Production Manager after earning a degree in music business from NMSU. He is a fabulous percussionist and performs regularly with the Las Cruces Symphony. He is also an excellent brewer.

Contact Us

(Please verify your email is correct; if it's incorrect, we have no way to contact you!)

(575) 373-0789

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Patterson Hornworks is one of the premier Custom Horn builders in America. Located in Las Cruces, NM, our horns are very well known among professional players and are currently being played in the Metropolitan Opera as well as major Symphony Orchestras worldwide.

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Horn Quintet in E-Flat Major, K. 407: I. Allegro

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Voici le bulletin pour rejoindre l'association AEROCORS.

Distribuez là à tous les amoureux du cor

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All of the single and double French Horns that bear the name "Herbert Fritz Knopf" are individually crafted in the master horn maker's workshop using proven designs and the finest of materials. Christian Knopf in seiner Werkstatt Spanning more than 150 years since 1852, five generations of the Knopf family have been introducing innovating horn designs and refining manufacturing techniques. Today the Knopf master horn maker collaborates closely with horn players from around the world to build horns that fulfill the most stringent of musical demands.

The premier "Knopf Model" double horn is famous for its high quality, mellow and centered tone, responsiveness, and positive intonation. It speaks easily in the high registers and produces full-bodies pedal-tones. The "Knopf" can also be customized to meet specialized requirements. While targeting primarily for professional use, it is equally suited for advanced players and students.

Contact the firm to obtain a prospectus describing its full range of hand-crafted French Horns and customization services.

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All of the single and double French Horns that bear the name "Herbert Fritz Knopf" are individually crafted in the master horn maker's workshop using proven designs and the finest of materials. Christian Knopf in seiner Werkstatt Spanning more than 150 years since 1852, five generations of the Knopf family have been introducing innovating horn designs and refining manufacturing techniques.

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Sonate en Fa majeur, Op. 17 pour cor & piano: Allegro moderato

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Pour revivre notre concert de clôture de cet événement !

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Cadenza for Mozart Horn Concerto No.3 KV 447 , Corona Version by Chandra

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What my horns will do

In the past, players were forced to choose between horns which favored either the high or low range, or the bright or dark end of the tone color spectrum. Using metallurgical tempering techniques and good architecture design, I have significantly reduced the differences in feel between the octaves, and matched the Bb and F sides much more closely. Additionally, the extremes of the dynamic range from ppp to fff are more controllable with less effort. Regardless of any individual characteristics that a horn of mine might express, you can count on enjoying the following:

Purity of articulation. My horns have just the right amount of resistance to allow for pure articulations. This eliminates the burbles that sometimes occur and even reduces the appearance of spontaneous note chips.

Clarity of sound. Often horns that are clear up close, sound muddy in a hall. This is because different overtones have different projection potential. By maximizing the frequencies that project, and minimizing those which do not, I can give the horn a clear sound for the hall.

Smooth note changes. I've always believed that jobs are won and kept with the beautiful excerpts rather than the technical ones. By removing the bump between notes, the player can focus on the music, and not the technique, for playing lyrically.

Perfect intonation. The tapered sections of the horn correct the intonation issues inherent in a straight pipe. I work on my tapers solely for intonation and control the resistance and character of the horn in other places. This ensures that every note is where it is supposed to be and that chop micromanagement is not necessary to pull notes in tune. This reduces the effort to play the horn and extends endurance and efficiency.

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In the past, players were forced to choose between horns which favored either the high or low range, or the bright or dark end of the tone color spectrum. Using metallurgical tempering techniques and good architecture design, I have significantly reduced the differences in feel between the octaves, and matched the Bb and F sides much more closely.

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Certes en anglais mais riche de contenu

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Pierre del Vescovo a étudié au Conservatoire de Paris où il obtient un 1er prix de cor en 1949. En 1956, il remporte un 2ème prix au Concours International de Genève.
Il occupe successivement le poste de cor solo à l’Orchestre Symphonique de Bâle, à l’Orchestre Philharmonique d’Israël, à l’Orchestre Philharmonique de Montréal, à l’Orchestre de Chambre de Paris et, de 1977 à 1995 à l’Orchestre du Capitole de Toulouse.

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De très intéressantes interviews de grands solistes menées par Hervé Joulain

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En poursuivant votre navigation sur ce site, vous acceptez l'utilisation de cookies pour vous proposer des services et offres adaptés à vos centres d'intéréts.

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Concerto pour cor No. 2 in D Major, Hob. VIId:4: I. Allegro moderato

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If you have just spent large sums on a new horn it is worth taking a little time and trouble to maintain it properly; these notes and diagrams will tell you how to ensure that your pride and joy stays in top condition, avoiding expensive repair bills and letting you get on with making music.

MAINTAINING THE VALVES

All modern horns are fitted with rotary valves which, by their nature, are rather more complicated than the simple piston valves fitted to trumpets. To keep them working properly and to prevent wear needs a simple but regular maintenance routine. Three different grades of oil are needed and the diagrams show where they are applied.

The bearings at the top and bottom of the valve spindle need regular oiling with a medium oil - Paxman Bearing Oil. Remove the valve caps one at a time, wipe away any old oil with a tissue and put one drop of Paxman Bearing Oil on the top surface, where you can see the spindle turning in its collar. Then replace the valve cap taking great care not to cross the very fine thread. Don't over tighten the cap, light finger tightness is all that's needed. The oil under the top caps isn't going anywhere except where it's needed, but the bottom bearing is a different matter. Here a drop of Paxman Bearing Oil is needed in the small gap between the fixed collar and the rotating part of the valve; because this is exposed to air and open downwards, oil naturally runs away from its correct place, allowing the bearings to run dry. Apply oil to each bearing by squeezing a small drop into each gap; then turn the horn on its back and move the levers for a few seconds until the oil is well into the bearing. It is particularly important to oil these bottom bearings regularly.

While you are oiling under the valve caps check that the marks incised at 90 degrees line up when the valve turns. If the marks do not line up it will mean that the corks or rubber stops underneath have worn and that the valves will not be opening properly. It is possible with care to replace these yourself but you may find it easier to get a good repairer to do it for you.

Mechanical actions, whether hinged or ball & socket type, need to be lubricated with a thicker oil than the spindles - Paxman Linkage Oil is very effective. There are three types of valve linkage in use, two of which are illustrated here. Not shown are cord action valves which do not need oiling unless there is a pivoting joint in the linkage (Yamaha horns in particular often have this), in which case follow the advice for the other types. Even if your horn has the three main valves operated by cord action, you will often find a mechanical linkage operating the thumb valve.

Proper oiling will prevent wear to linkages; and if there is any wear, can stop it getting worse, along with reducing the noise which is a symptom of wear. Apply a drop of Paxman Linkage Oil onto each joint - don't worry if it doesn't appear to get right into the joint immediately as capillary action will soon take it where it is needed. However, do make absolutely certain that no Paxman Linkage Oil is allowed to go where Paxman Bearing oil is applied. Should this happen, the valves will become catastrophically slow and 'sticky', needing a good deal of the next treatment to remedy them.

Over time slide grease and dust tends to collect in the valves and they become sluggish and sticky. The thinnest oil poured down the slides, and so onto the valves, will wash the residue away leaving your valves as efficient as they should be. Take out all the valve slides, but not the main tuning slides, hold the horn so the open slides are vertical and apply one drop down each. Try to get the oil straight down the middle to avoid washing any slide grease left in the slides onto the valves. Then, still holding the horn up, move the levers until you feel the valves improve. Carefully discard the waste oil. This treatment should only be done when it is really needed, but it does make a tremendous difference. The oil for this is Paxman Rotor Oil which has the advantage of some actual oil content (most thin oils are basically kerosene). Other alternatives are Holton valve oil, which most general music shops stock, Al Cass 'Fast' and 'Blue Juice'.

LUBRICATION OF THE VALVE MECHANISM

Mechanical Linkage: Hinged Connecting Rod

Mechanical Linkage: Ball and Socket Connecting Rod

GENERAL MAINTENANCE

Slides
It is very important that the slides move easily and are not allowed to become stuck. This is achieved with a suitable grease - Vaseline will do but Selmer Cork & Slide grease is better. Wipe off any old grease with a tissue - a drop of thin oil on the tissue helps this - and ensure that there is no old grease building up in the ends of the slides. Take a little slide grease on the end of a finger and wipe a band of it round the middle of the slide, this will spread up and down the slide as it is inserted into the horn. If the grease is applied to the whole length of the slide it tends to get pushed straight down to the end and onto the valves rather easily. Do this every couple of weeks.

Cleaning inside the horn
It is important to keep the inside of the horn clean, but if the mouthpipe is kept clean then little other dirt will go further. The best way to do this is to use a pull-through.

The Paxman Pull-Through is made from plastic coated wire with a brush in the middle. To use it, remove the mouthpiece and the main tuning slide. Push one end of the Pull-Through into the tuning slide end of the mouthpipe and carefully feed it through until it comes out of the mouthpiece end, in other words from the larger to the smaller diameter. Then gently pull from the mouthpipe end until the whole Pull-Through has come through the mouthpipe. Rinse the Pull-Through and repeat until it comes through clean. If the mouthpipe has not been cleaned for some time, the first cleaning may result in a rather unpleasant spectacle - an indication to clean the mouthpipe more regularly.

It shouldn't be necessary to wash out the rest of a horn which has been properly cared for, but if a horn has been neglected over a long period then washing it through with warm water should be followed immediately by thorough draining and a complete re-lubrication to avoid the formation of verdigris in the valves. Likewise a horn being placed in store for any period should have the valves well oiled and operated regularly to ensure they do not become seized.

USE OF THE PAXMAN MOUTHPIPE PULL-THROUGH

Cleaning the outside of the horn
If your horn is lacquered then all that is necessary is to wipe it clean with a duster or soft cloth. Over the years the lacquer will deteriorate where the hands are most often placed, but as this is largely due to the effects of perspiration, wiping the instrument after playing will help to keep the lacquer in good condition for longer. If the horn is not lacquered then it will normally have a dull appearance. It is quite safe to polish it with normal brass polish but, since this has an abrasive action it is wise not to do this too often.

CHANGING THE STRING ON CORD ACTION VALVES

The arrangement of the valve string bar relative to the cork stops may be in one of two positions and both are illustrated as A or B. Your horn may have all the valves the same or a mixture. Check and follow the diagram and instructions for whichever is appropriate.

1. Take a length of valve cord and tie a double knot at one end. Pass through hole as shown.

2. Take the free end part-way round the valve collar (anti-clockwise for A, clock-wise for B) having loosened the retaining screw on the spigot so as to accommodate the cord.

3. Pass cord (clockwise for A, anti-clockwise for B) under the spigot-head screw, and adjust position of lever to approximate level desired for the finger-plate. Tighten spigot screw temporarily.

4. Carry the cord (anti-clockwise for A, clockwise for B) around the collar, and pass along as shown to end-hole of bar and feed it through.

5. Hold collar-spigot against stop (as shown by arrow) and wind cord clockwise around end screw when taut. Tighten end screw. The level of the finger-plates may be adjusted by loosening the collar-spigot screw and then re-tightening. The screw at the end of the bar may then need a slight adjustment to take up any slack. Cut off the cord leaving about 2cm spare for ease in subsequent re-threading.

The level of the finger-plates may be adjusted by loosening the collar-spigot screw and then re-tightening. The screw at the end of the bar may then need a slight adjustment to take up any slack. Cut off the cord leaving about 2cm spare for ease in subsequent re-threading.

The Care and Maintenance page was compiled with the help of Simon de Souza.

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If you have just spent large sums on a new horn it is worth taking a little time and trouble to maintain it properly; these notes and diagrams will tell you how to ensure that your pride and joy stays in top condition, avoiding expensive repair bills and letting you get on with making music.

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McCracken Horns - French Horn, design, custom, lead pipe, cut bell, screw bell, valve work,

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Un site un peu fouillis mais immensément riche réalisé par un très grand corniste, le Professeur Pizka

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Picka, Pizka, Piczka, Ploechl, Poelzeder, Prandstetter, Praun, Premerl, Prickl, Proeslmayer, Puchmayr, Puchinger, Puncelet, Puntzel, Punkenhofer, Raiser, Rambl, Ramblbauer, Rauch, Reich, Remblbauer, Remplbauer, Raubentisch, Reindl, Rubece, Rubeke, Salvaeter, Sandner, Scheves, Schlager, Schloeger, Schneider, Schoenpoeck, Schwager, Schwarzenbach, Seyr, Seyrer, Seyrl, Soong, Srisapar, Stich, Stienen, Stroblmayer, Strohhuetter, Stynen, van Booven, van Loh, Tapabutra, Thyskens, Turfs, Walchshofer, Walkshofer, Watzikova, Wauters, Wazinger, Weglehner, Weidinger, Wessels, Windischgrazer, Wolters, Wouters, Zeitlbauer

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Concerto pour cor No. 2 in D Major, Hob. VIId:4: II. Adagio

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Revivez le premier concours de cor  René Vidalot

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Revivez le premier concours de cor  René Vidalot

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Paru dans La Revue du Corniste

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Pat PEIGNIER au Concert "jeune public".m4v

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Tout ce qui concerne le cor naturel et la musique ancienne pour cor: des renseignements sur l'instrument, des dates de concerts, des biographies de cornistes, des partitions, des enregistrements, etc.

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L'instant instrument #1 - Le cor d'harmonie

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Concerto pour cor No. 2 in D Major, Hob. VIId:4: III. Allegro