The Double Horn Concerto: A Specialty of the Oettingen-Wallerstein Court

Author(s): Sterling E. Murray

Source: The Journal of Musicology, Vol. 4, No. 4 (Autumn, 1985 - Autumn, 1986), pp. 507-534
Published by: University of California Press
Stable URL: http://www.jstor.org/stable/763754
Accessed: 18-11-2015 00:52 UTC

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 THE DOUBLE HORN CONCERTO:
A SPECIALTY OF THE OETTINGEN-WALLERSTEIN COURT

STERLINGE. MURRAY

O ne of the most intriguingand still little consideredbyroadsof the

classical style in music is the ensemble concerto.' Such works ap-
peared during the later eighteenth century under a variety of names, in-
cluding sinfonia concertante, concertante, concertino, and concerto, but
the commonly accepted designationappearsto have been the French term
symphonie concertante.2This term normally refers to an orchestralwork
of two or three movementscomposed for a small group of solo instruments
and orchestra.3In the early stages of the genre's development, works fea-
turing two solo violins were favored.4 Later, other combinations of solo
string instrumentsor mixed string and wind ensembles graduallyreplaced
the duo violins. Near the end of the century solo groups of multiple wind
instrumentsbecame especially popular.5
BarryBrook points out that between 1770 and 1830 "about 210 com-
posers wrote approximately570 works specifically entitled symphoniecon-

'This study is an expandedversion of a paper, "The Double HornConcertoin the Late Eighteenth
Century:A Special Vogue of the Classic Style," read at the regional meeting of the college Music
Society, Drexel University, 1983.
2For more informationon the symphonie concertante, see Barry S. Brook, "The Symphonie
Concertante:An InterimReport," The Musical QuarterlyXLVII (1961), 493-516 and "Addenda," in
same journal, XLVIII (1962), 148; Brook, "The SymphonieConcertante:Its Musical and Sociological
Bases," InternationalReview of the Aestheticsand Sociology of Music VI (1975), 9-28; Brook, "Sym-
phonie concertante,"in TheNew GroveDictionaryXVIII, 433-38; FranzWaldkirch,Die Konzertanten
Sinfonien der Mannheimerim 18. Jahrhundert(Ludwigshafen, 1931); Edwin J. Simon, "A Royal
Manuscript:Ensemble Concertosof J. C. Bach," Journal of the AmericanMusicological Society XII
(1959), 161-77; Janet B. Winzenburger,"The SymphonieConcertante:Mannheimand Paris," (M.A.
thesis, University of Rochester, 1967); Andrew D. McCredie, "Symphonie Concertanteand Multiple
Concerto in Germany(1780-1850): Some problems and Perspectivesfor a Source-RepertoryStudy,"
Miscellanea Musicologica (1975), 115-47; and Fritz Kaiser, "Die 'konzertanteSymphonie' des 18.
Jahrhundertsund die Sinfonia concertante von Joseph Martin Kraus," in FriedrichW. Riedel, ed.
Joseph Martin Kraus in seiner Zeit: Referatedes zweiten internationalenKraus-Symposionsin Buchen
1980 (Munich, 1982), pp. 139-54.
O3n the surface, the symphonieconcertanteappearsto be a close relative of the baroqueconcerto
grosso. However, the family resemblanceis purely superficial. Beyond the concertanteprinciple that
both obviously share, the two genres differ in fundamentalconsiderationsof instrumentation,structure,
and stylistic detail. See BarryS. Brook, "Symphonieconcertante," The New Grove Dictionary XVIII,
433, and also "The Symphonie Concertante:Its Musical and Sociological Bases," pp. 12-13.
4Accordingto Brook, "In the first-five-yearperiod, the two-violin combinationwas the rule, and
it remained the most common pairing until the 1780s" ("The SymphonieConcertante:An Interim
Report," p. 503).
5For more informationon the use of mixed groups of wind instrumentsin solo groups, see James
M. Stoltie, A SymphonieConcertanteType:The Concertofor mixedwoodwindensemblein the Classical
Period (Ph.D. dissertation,University of Iowa, 1962).

507

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508 THE JOURNALOF MUSICOLOGY

certante, sinfonia concertante,or simply, concertante."6The center of this

vogue was Paris. About half of the pieces documented by Brook were
writteneither by Frenchcomposers or expatriatesliving in the Frenchcap-
ital. Moreovermany foreigncomposersdirectedtheirconcertanteorchestral
music towards the Parisianpublishinghouses, concert agencies, and audi-
ences. In 1777, when the Mannheimflutist Johann Baptist Wendling ad-
vised the young Mozartthathis Concertonefor two solo violins andorchestra,
K. 190/186 E, was "recht fur Paris,"7 he was voicing an opinion that
probablywould have been subscribedto by many other astute musicians of
his day.
Partof the success of the symphonieconcertanterested in the fact that
such works were ideal performance vehicles for the public concerts or
"academies" that enjoyed increased popularityduring the second half of
the eighteenth century. The symphonie concertante made few substantial
demands on the listener, seeking rathermerely to entertainthroughcharm-
ing melody and a bravuradisplay of technique.It was an artform that with
minimal effort could be appreciatedon an immediatelevel, and the bour-
geois audiencesenthusiasticallyembracedand adoptedit as theirown. This
new type of orchestralmusic became a symbol of popularover aristocratic
taste-a musical emblem of the social conflict that was to so dramatically
challenge the political structureof Europe.
One particularlyinterestingsubtypeof symphonieconcertantewas the
concerto for two horns and orchestra.Although clearly related by design,
character,and style to their mother genre, concertanteworks for two solo
horns and orchestra deviate in details from the norm of the symphonie
concertante. In fact, in some respects this subtype of symphonie concertante
is more closely relatedto the older concerto grosso, althougheven here the
stylistic parallels are not totally convincing. Deviations from both parent
types are substantialenough to suggest consideringconcertosfor two horns
and orchestra a separate repertory,here referredto as the "double horn
concerto."

The Double Horn Concerto

Unlike the mainstreamof the concertanterepertorywhich comes down
to us primarily through Parisian prints entitled symphonies concertantes,
the majority of the double horn concerto repertoryhas been preserved in
court music collections under such titles as "concerto," "concertino,"
"concerto concertante," or simply "concertante." Most are found in man-

6Brook, "The Symphonie Concertante:Its Musical and Sociological Bases," p. 13.

7Postscriptadded by Wolfgang A. Mozartto a letterfrom Anna MariaMozartto her husbandand
daughter(Paris, 24 December 1777), as quoted in Wilhelm A. Bauer and Otto E. Deutsch, eds. Mozart
Briefe und AufzeichnungenIII(Kassel, 1962-1963), pp. 185-87.

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DOUBLE HORN CONCERTO 509

uscriptsets of parts.8This fact suggests thatdoublehornconcertosfollowed

a pathof disseminationcounterto thatof the typical concertante.Moreover,
the prevalence of this literaturein princely archives further implies that
these works were more closely associatedwith aristocraticcourtmusic than
the public concerts that seemed to have been the mainstay of the conven-
tional symphonies concertantes. It is also significant that the composers
who cultivated the double horn concerto tend not to be French either by
birth or artistic inclination. Indeed, this genre is dominatedby composers
of Bohemian and Germanextraction.9The partialityshown by Bohemian
composers to wind instrumentsin general and the documentedexcellence
of Bohemian horn players suggests a possible explanationfor this trend.10
The double horn concerto also differs from the traditionalsymphonie
concertante in certain aspects of structureand style. While most French
concertantes are cast in two fast movements in the same tonality,11 the
double horn concerto follows more closely the cyclic pattern associated
with the solo concerto of the same period: three movements-two allegro
statements flanking a middle aria-like slow movement (often indicated
"Adagio") in a contrastingtonality. Furthermore,while both genres share
a commitment to technical challenge, ostentatious display is less pro-
nounced in the double concerto than the symphonieconcertante. In short,
the double hornconcertoappearsto approximatemore closely the ensemble
concertofashionedto the classic style thandoes the symphonieconcertante,
which by the last years of the eighteenth century had developed an inde-
pendent stylistic focus.
The prehistoryof this genre can be tracedto the concerti grossi of late
baroque composers such as Vivaldi and Telemann and to the prominent
horn parts found in some of the orchestralmusic of J.S. Bach and Handel
as well as in those by several of their lesser-known German colleagues,

8Normallythe title symphonieconcertanteappearson manuscriptsonly when they have been copied

from prints. Jacques Widerkehr'sSimphonieconcertanteen fa pour 2 cors. . .(Paris: Au magasin du
conservatoire de musique) is found in the music collection of the Oettingen-Wallersteincourt in a
manuscriptcopy identified as "ler Symphonieconcertante/ composee par Widerkehr"(D-brd HR [D-
brd Au] III 4 1/2 2?437). The print is not partof the collection.
9Consideringthe substantialcontributionmade to the symphonie concertante repertoryby the
composers of the electoral court at Mannheim, it is noteworthythat no concertos for two horns and
orchestracan be attributedto Mannheimcomposers.
10Gerberwrites, "Und wer weiss nicht wie weit es seitdem die Bohmen auf diesem Instrumente
gebrachthaben: so dass man seit geraumerZeit selbst in Paris genothiget ist, um gute, Waldhomisten
zu haben, selbige aus Bohmen zu holen" (Gerber, Historisches-BiographischesLexikon der Tonkiin-
stler, II [Leipzig, 1790-92], 547). As has frequentlybeen pointed out Gerber's source of information
on the horn and horn players was Carl Thurrschmidt.As an appendix to his study on the Bohemian
contributionto eighteenth-centuryhorn music. Horace Fitzpatricktranslates Gerber's entire article
which he claims was written as early as 1789 (The Horn and Horn-Playingand the Austro-Bohemian
traditionfrom 1680 to 1830, London 1970, pp. 219-26).
lAccording to Brook, "for the symphonieconcertantein general and the Frenchmodel in partic-
ular, the two-movementform is the rule ratherthan the exception. The ratio in favor of two-movement
works is three to one over works with three or more movements," ("The SymphonieConcertante:An
InterimReport," p. 503). When discussing the entire repertoryin his more recent article in The New
Grove Brook writes, "about half the works are in two movements" (XVIII, 433).

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510 THE JOURNALOF MUSICOLOGY

Fasch and Graupnerto name only two. Among the earliestextantexamples

of this repertoryare Leopold Mozart's Concerto for Two Horns in E-Flat
major, composed in 1752, and the two concertoswrittenabout 1754 by the
expatriate Bohemian, Franz Xaver Pokory (1729-1794). The May 1754
issue of the Mercure de France reportedthat on 16 April of that year "M.
Syryyneck et M. Steinmetzjouerent un concerto de cors-de-chasse" at a
performanceof the concert spirituel.12 Althoughthe composerof this con-
certo is not mentioned, it is possible that it was one of Pokory's works.
The two horn players, Syryyneckand Steinmetz, were in the employ of the
bankerAlexandre-Jean-JosephLe Riche de la Poupliniere.In 1753, a year
before the concert spirituelperformance,Pokory had been granteda leave
of absence from his musical duties at the Oettingen-Wallersteincourt to
pursue composition studies at Mannheim. He remainedthere until April,
1754. The connecting link could have been suggested throughthe Mann-
heim instrumentalmusic director,JohannStamitz, who was in contact with
Poupliniereduringthe time when Pokornywas a studentat the Mannheim
court.13
Furtherdocumentationof the early double horn concerto literature
comes from referencesin contemporaneouscataloguesto works thatfor the
most part have not survived. The thematic catalogue of the music library
of Prince Carl Friedrich zu Hohenzollern in the castle in Sigmaringen,
Germany is a case in point. Most of this index was compiled in 1766 by
the court music director Johann Michael Schindele. Included in the Sig-
maringenthematic catalogue are two concertos for two horns attributedto
[Leopold] "Mozzart."14 This attributionis doubtful, however, since later
in the catalogue the same two concertosreappearunderthe name of Reluzi.
None of these works have survived. In 1766, a concertofor two horns, two
violins and violono, attributedto a composeridentifiedonly as "Tischler,"
was listed in the Breitkopf thematic catalogue,15and three years later the

12Citedin Fitzpatrick,The Horn and Horn-Playing, pp. 113-14. Fitzpatrickalso points out that
a Concertoin D composed by "Sig. Charles" is preservedin the musical libraryof Sir Samuel Hellier
(C. 1764-84) at WombourneWodehouse, Staffordshire,England with a note in Hellier's hand that
reads, "This Concerto is Eitherfor FrenchHorns or Trumpetts[sic]." Fitzpatrickequates the general
style of the composition to that of Dittersdorf's"early period" (Ibid., p. 106).
'3Accordingto Georges Cucuel, it was, in fact, Stamitz who, in 1748, had first suggested to the
fermier gdneral that he should add horns to his orchestra(La Poupliniere et la musiquede chambreau
XVIIIesiecle, [Paris, 1913], p. 324).
14''Catalogus fiberdie SamtlicheMusicalischeWerck, und derselbenAuthora,nach Alphabetischer
Ordnung:Welche von Ihro Hochfurstl. DurchlauchtDem DurchlauchtigstenFurstenund Herm Herrn
Carl Friedrich Erbprinzenzu Hohenzollern, Burggrafenzu Niirenberg, Grafen zu Sigmaringen und
Vohringen. . .angeschafft worden seynd. Consignitt von mir dem Expeditions Rath, und Music: Di-
rectore Schindele a : 1766." Today this catalogue is found in the Fiirstlich HohenzollernscheHof-
bibliothekin Sigmaringen,West Germany.Formoreinformation,see BarryS. Brook,ThematicCatalogues
in Music: an annotated bibliography(New York, 1972), No. 1216.
15See modem edition by Barry S. Brook: The BreitkopfThematicCatalogue: The Six Parts and
Sixteen Supplements,1762-1787 (New York, 1966), p. 250. This work is cited here as Breitkopflists
it specifically under horn concertos, but it is likely to have been a ripieno concerto ratherthan a solo
work.

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DOUBLE HORN CONCERTO 511

same firm advertisedtwo concertoscomposed by the famous Dresden horn

teacher Anton Hampel (c. 1710-1771).16
The special vogue of the concerto for two horns and orchestraappears
to have peaked in the last quarterof the eighteenthcentury, when the genre
flourished and blossomed principally in the works of south German and
Bohemiancomposers. Knowledge of this repertoryrests primarilyon those
compositions that have survived in manuscriptcopies (partsand scores) in
various court music collections or are mentionedin publishers'catalogues
or by lexicographers. At present, the following composers are known to
have contributedto this repertory:Georg Feldmayr(1756-after 1818), Jo-
seph Fiala (c. 1750-1816), CharlesHanke(1753-c. 1812),17Michael Haydn
(1737-1806), Johann Nepomuk Hiebsch (1766-1820), Franz Hoffmeister
(1754-1812), Georg Hoffmann (dates unknown)18,Anton R6ssler, known
as Antonio Rosetti (1750-1792), BaronTheodorvon Schacht (1748-1823),
Selike (?), Johann Christoph Todt (dates unknown)19,Paul Wineberger
(1758-1821), and FriedrichWitt (1770-1836).
In the 1790s andthe first decadeof the nineteenthcenturythis repertory
was enlarged with the publication of several double horn concertos by
several large Germanand Parisianpublishinghouses. Includedin this group
are works by Matthieu-FredericBlasius (1758-1829), JohannBraun(1753-
1811), HeinrichDomnich (1767-1844), F. Parisot(dates unknown),Joseph
Rejcha (1752-1795), BernhardRomberg (1767-1841), Othon-JosephVan-
denbroek(1758-1832), JohannChristophVogel (1756-1788), and Jacques-
Christian-Michell'aine Widerkehr(1759-1823).20Also datingfrom the last
years of the eighteenth century is a Premier concerto pour deux cors com-

16Ibid.,p. 361. It is not always clear whethera work listed in a primarysource is a concerto for
second (low) horn or a concerto for two horns, since sometimes the abbreviation"cor" is used to
indicate both a plural and a singular noun. It is highly likely that the present compositions are solo
concertos for secondo horn, as Hampel was himself a low horn player.
17Fetisreports that Hanke composed four concertos for two horns, but none has been located
(FrancoisJ. F6tis, Biographie universelle des musiciens, Paris, 1835-1844, IV, 219-20).
18TheViennese music publisher,JohannTraeg, lists one work by Hoffmannamong the "Doppelt
Concerten" in his non-thematiccatalogue of 1799 (Verzeichnisalter und neuer sowohl geschriebener
als gestochenerMusikalien, welche in der Kunst-undMusikalienhandlungdes Johann Traeg, zu Wien,
in der SingerstrasseNr. 957. zu haben sind [Vienna, 1799]).
'9Todtserved Count Vollrathof Lowenstein-Wertheimas valet and chambermusician in 1783 and
1784 (Dieter Hartwig, "JohannChristophTodt," The New Grove Dictionary XIX, 23). Gerberclaims
that Todt composed six concertos for two horns and orchestra(Historisch-biographischesLexikonder
Tonkunstler,II, 662). The only extant concertedhorn work known to me is a Concertinolocated today
in the music collection of the WissenschaftlicheAllgemeinbibliothekdes Bezirkes Schwerin; see Otto
Kade, Die Musikalien-Sammlungdes grossherzoglichMecklenburg-Schweriner Fiirstenhausesaus den
letzten zwei Jahrhunderten(Schwerin, 1893-1899).
20Theworks by Blasius, Domnich, Vandenbroek,and Widerkehrwere published in Paris under
the title symphonieconcertanteand performedon public concert programsof that city by outstanding
virtuosos. All four of these composers were associated in some manner with the recently founded
Conservatoire. Domaus, Vandenbroek,and Vogel were horn players themselves, and it is likely that
their concertos were designed for their own use.

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512 THE JOURNALOF MUSICOLOGY

posed jointly by PhilippDoraus (1769-c. 1802?) and JohannAndre. Dorn-

aus contributedthe solo part, and the orchestrationwas completedby Andre
(or one of his employees), whose firm publishedthe work.
A Concerto for Two Horns and Orchestrain E-Flat major has been
attributedto Joseph Haydn throughan incipit included in a catalogue pre-
pared in 1805 by Haydn's copyist, Johann Elssler. The E-Flat Concerto
(known as Hoboken VIId/2) does not appear in the so-called "Entwurf-
Katalog," the runningseries of incipits compiled by Haydn between 1765
and 1800. It is, however, to this work that Traeg refers in his non-thematic
list of 1799 as "2 Haydn (Gius.) a 2 Corni di Caccia Concert. 2 V. Viola
e B[asso] in Es." Haydn's Trumpet Concerto of 1796 also appears in
Elssler's 1805 catalogue, but is absent from the "Entwurf-Katalog."This
fact, plus the appearanceof the horn concerto in Traeg's 1799 list, would
suggest that Haydn's concerto for two horns and orchestrawas a product
of his later years. Speaking against such a hypothesis, however, is the
reduced instrumentationrequired in the concerto.21This work is unique
among Haydn's music, and, in fact, is the only doublehornconcertoknown
to have been writtenby a majorcomposer of the late eighteenthcentury.

Horn Duettists
The popularityof the double hornconcertowas no doubtencouraged-
if not motivated-by the variousduo pairs of hornplayers who concertized
throughoutEurope in the later eighteenthcentury. In these duo teams one
memberspecialized on the high horn (cor alto or primo corno) with a range
of approximatelyc' to c"' and the other on the low horn (cor basse or
secondo corno) with a range of G to g". Often such teams were made up
of brotherswho had been playing together since their earliest days as per-
formers. Among the more famous fraternalhorn duos were the brothers
Ziwny (Joseph, Wenzel, and Jacob), who worked at the electoral court of
Mannheimand later in the Kapelle of the Duke of Wiirttembergin Stutt-
gart;22the brothers Hosa (Thomas and Georg), Bohemian horn players
employed by Prince Charlesof Lorrainein Brussels;23the brothersBoeck,
a Bavarianduo who concertized throughoutEurope during the 1780s; the
brothersDoraus (JohannPeter and Philipp) who, along with their father,
ChristopherDornaus, constitutedthe horn section of the electoral orchestra

21Somescholars have noted the similaritybetween Hob. VIId/2 and a Concertofor Two Horns in
E-Flat major that is preservedin a manuscriptcopy in the Wallersteincollection where it is attributed
to "Michael Heiden"; see Carl de Nys, "A propos du concerto pour deux cors et orchestre en mi
bemol majeur," in Bence Szabolcsi and Denes Bartha,eds. Bericht iiber die InternationaleKonferenz
zum AndenkenJoseph Haydns, Budapest, 17.-22. September1959, (Budapest, 1961), pp. 103-08.
22Fitzpatrick,The Horn and Horn-Playing, p. 123.
23GottfriedJohannDlabacz, AllgemeineshistorischesKiinstler-Lexikon fur Bohmenund zum Theil
auchfur Mahren und Schlesien I, (Prague 1815), cols. 667-68. Accordingto Fetis, Thomas Hosa was
also a composer who at his death on 16 March 1786 left behind several concertos for his instrumentin
manuscriptcopies. However, no specific mention is made of double horn concertos (Biographie uni-
verselle, IV, 372).

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DOUBLE HORN CONCERTO 513

at Koblenz in the mid 1780s;24and the brothersGugel or Gugl (Joseph and

Heinrich), whose performingcareers bridge the eighteenth and nineteenth
centuries.25
The careers of Ignaz (born 1754) and Anton Boeck (born 1757) are
representativeof such duo teams.26 Born in the small town of Stadt-am-
Hof near Regensburg, these brothers studied horn with a local teacher,
Joseph Vogel of the Thur und Taxis Hofkapelle. After completing their
studies with Vogel, they traveledto Vienna, where the horn-playingbroth-
ers joined the Hofmusikof PrinceBatthyany.They remainedin the prince's
service for only a little over threeyears. The Boecks then set out on a series
of extended concert tours which in the next fifteen years took them to such
divergent musical centers as Stockholm, Copenhagen, Hamburg, Berlin,
Dresden, Prague, Vienna, Venice, Milan, Paris, London, Rome, Bonn,
Koblenz, Mainz, Frankfurt,Hannover, St. Petersburg,Moscow, Warsaw,
and Munich. On their grand tours the Boecks performedbefore many of
the nobility of Europe. In each location they gave public or "benefit"
concerts in addition to courting the pleasure of the local aristocracy. At
several times during the course of their travels the Boeck brotherstempo-
rarilyjoined the musical establishmentof an importantnobleman, but sel-
dom remainedin local service for very long. Clearly, they, like many of
their contemporaries,found it more profitableto function in a free-lance
manneras travelingvirtuosos.
In the course of their journeys, the brothersBoeck came in contact
with the latest literaturefor their instruments.Moreover, it is also likely
thatlocal courtcomposersthey encounteredalong the way were encouraged
to write for the combinationof two hornsafterhavingheardthese musicians
perform. Thus, by carrying with them the specialized literaturefor their
individualinstrumentalcombination,travelingvirtuosoteams like the Boecks

24JohannPeter and Philipp Domaus joined the electoral court orchestraon 21 February1783. In
April of that year they traveledto Cassel to study with Palsa and Thurrschmidt.Their period of study
lasted six months. During their studies with Palsa and Thurrschmidt,the elector invited the Bohemian
horn duo to his court where they performedon 20 June 1783. According to court archives Palsa and
Thiirrschmidtplayed horn duets by Rosetti on their new silver instrumentsmade for them in Paris by
Raoux. The elector was so impressed with these instrumentsthat he had two made for the Domaus
brothers.For more information,see Gustav Bereths, Die Musikpflegeam kurtrierischenHofe zu Kob-
lenz-Ehrenbreitstein(Mainz, 1964), 98-99 and Shelley Davis, "The Orchestraunder Clemens Wen-
zeslaus: Music at a Late-Eighteenth-CenturyCourt," Journal of The American Musical Instrument
Society I (1974), 86-112.
25Therewere three Gugel brothers. The eldest was a virtuoso clarinetist and the two younger
brothers(Joseph and Heinrich)were horn players. According to F6tis, the horn-playingGugel brothers
were twins born in Stuttgartin 1770 and trained in Vienna, although this may be a misprint (F6tis,
Biographie universelle IV, 138). Fitzpatrick,on the other hand, places Joseph's birth in c. 1770 and
his brother'sat about 1780, apparentlyderiving these dates from EdwardBemsdorf, Neues Universal-
Lexicon der TonkunstII (Dresden, 1856), pp. 266-67. F6tis points out that the Gugel brotherswere
employed by the court of Hildburghausen,but also performedas travelingvirtuosos. Fitzpatrickplaces
them in St. Petersburgafter about 1816. Gerberreports, "dass in ihrem Vortragealle Kunst, Fertigkeit
und Schonheit vereinigt sey, die man sonst wohl hie oder da im einzelnen h6rte" (Gerber, Neues
historisch-biographischesLexikonII [Leipzig, 1812-14], 429).
26Themost extensive source of informationon the Boecks has been Felix Lipowsky, Baierisches
Musik-Lexikon(Munich, 1811), 24-27.

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514 THE JOURNALOF MUSICOLOGY

helped to spread knowledge of the double concerto from one locale to

another.The resultwas a ratherneat system of disseminationthatby-passed
the normal expense of printedmusic.
In additionto popularizingthe doublehornconcertoliteraturethe Boecks
also contributedto thatrepertory.A review that appearedin Cramer'sMag-
azin der Musik of a performancethe two Bavarianhorn players gave in
Berlin in 1783 mentions that they performedseveral concertosof their own
compositionfor which Rosettihad writtenthe orchestralaccompaniments.27
Unfortunately, these works have not survived. Other eighteenth-century
horn players are known to have composed music for their instrument,and
it is likely that some of them also sought the advice and assistance of
establishedcomposers.
Perhapsthe most celebratedduettistsof this period were JohannPalsa
(1754-1792) and Carl Thiirrschmidt[Turrschmidt](1753-1797), who per-
formed two-horn duets and concertos throughoutEurope in the 1780s and
the early 1790s. Palsa and Thiirrschmidtprobablyfirst met in Paris while
in the service of the Prince de Guemene. According to a Dictionary of
Music published in London in 1825, the two musicians played a concerto
for two horns at the concert spirituel in 1770 when they were just teenag-
ers.28 During their years in Paris the duo continuedto participatein per-
formances of the concert spirituel.29They remainedin the French capital
city until 1783 when they undertooka tourof Germany.30In that same year
the pair joined the service of the Landgraveof Hesse-Cassel where they
remained-except for a tripto Londonin 1785-until the Landgrave'sdeath
in 1786. In the early 1790s their travels took them to Berlin, and it was
here that Palsa died on 25 January1792 from what the MusikalischesWoch-
enblatt termed "einer Brustwassersucht."After Palsa's death, Thiirrsch-
midt was joined by Jean LeBrun (1759-1809), a French-bornpupil of the
Bohemian virtuoso Giovanni Punto (Jan Stich, 1746-1803), and the new

27"Ausserdem spielten sie einige sehr niedliche kleinere Stuickchen,franz6sische fur das Horn
ajustirte Chansonetten, und einige Concerte eigener Erfindung, zu denen Rosetti ihnen die ubrigen
Instrumentalstimmen gesetzt hatte" (CarlFriedrichCramer,ed., Magazinder Musik, [Hamburg,1783-
1786], communicationdated "December 21, 1783"), p. 1403. Fitzpatrickquotes this passage in trans-
lation, but incorrectly assigns it to the year 1787 (The Horn and Horn-Playing, p. 204). Rosetti is
known also to have composed the orchestralaccompanimentfor a keyboardconcerto written by his
pupil Nanette von Schaden, the wife of the Wallerstein Geheimrat, Franz Michael von Schaden (d.
1790). Such "ghost writing" was not uncommonin the late eighteenthcentury, when musicians who
were essentially performersdecided to compose works for their own use. Nalturally, this is more
prevalentin concerto literaturethan elsewhere.
28"'Palsa," in Dictionary of Music II (London, 1825), p. 259. This reference has not yet been
documented. According to the Almanach Musical (Paris), Palsa and Thiirrschmidtalso performed
together in Paris in 1777 (p. 178) and 1778 (p. 184).
29On24 March 1780 the Journal de Paris publishedthe following notice: "MM. Palsa et Tiersch-
miedt executerontun nouveau concertode Cors de Chasse de la Compositionde M. Rosetti" (p. 347).
30In 1782 Forkel lists Palsa in his MusikalischerAlmanachfur Deutschlandas "Kammermusicus"
Prince von Guemene, and in the 1783 edition Palsa is listed as "ohne Engagement, auf Reise" and
Thuirrschmidtas "mit Herm Palsa, auf Reisen." In 1784 six horn duets were advertisedas the joint
effort of Palsa and Thurrschmidt,"Kammervirtuosenzu Kassel," in H. A. Fr. von Eschstruth'sMu-
sicalische Bibliothek(Marburgund Giesen, 1784), p. 61.

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DOUBLE HORN CONCERTO 515

duo continued for another five years. The Palsa-Thiirrschmidtteam was

one of the most famous ensemble teams of their day, and more than any
other duettiststhey were responsiblefor sparkingthe vogue for the double
horn concerto that peaked duringthe mid-1780s.
Gerberreportsthat Palsa was born in Jermeritz,Bohemia in 1752. He
picks up the details of the hornplayer's biographyafter Palsajoined forces
with Thiirrschmidtin Paris and continues to chronicle their dual careers.
Gerberhas high praise for Palsa's playing, citing in particularhis beauty
and purity of tone quality which was complemented by Thiirrschmidt's
speed and technical agility.
Carl Thiirrschmidtwas only one of a ratherimportantfamily of ex-
cellent horn players. His uncle, Anton Thiirrschmidt,was a memberof the
Hofkapelle of Prince Albrecht of Teschen (now Cieszyn, Poland) and his
younger brother,Joseph Thiirrschmidt,was a noted low horn player. Both
Carl and his brotherwere born at Wallersteinand received theirearly train-
ing from their father, JohannesThiirrschmidt,a primo horn player in the
service of the Oettingen-Wallersteinfamily. Gerber dubbed the elder
Thiirrschmidt"one of the finest high horn players of his time."31

The Oettingen-WallersteinHofkapelle and its Horn Players

Although the Wallersteincourt was later to enjoy a distinguishedrep-
utation, duringthe youngerThiirrschmidt'sdays at court, the Hofmusikwas
still in its nascent stages. His father had joined the Hofkapelle the year
before Carl was born. In 1766, when Carlwas thirteenyears old, the Count
von Oettingen-Wallersteindied, and musical activity at court came to a
standstill. Thiirrschmidtand his desk partner,Joseph Fritsch, were tem-
porarily "loaned" to the Thurn und Taxis court. Fritsch remained at the
Regensburgcourt, but Thiirrschmidtreturnedto Wallensteinin 1773. Three
years before, the youngerThiirrschmidthad alreadyset out to earn his own
reputationas a solo horn player in Paris. Even though Carl Thiirrschmidt
was raised in the musical environmentof the Thur und Taxis court rather
than that of Wallerstein, his early association with Wallersteincannot be
denied. Moreover, it is quite likely that as the musical reputationof the
WallersteinHofkapelle blossomed under its new ruler, Prince Kraft Ernst,
Carltook pride in the success of his fatherand continuedto maintainregular
contact with Wallersteinand its musicians. If revitalizationof the Waller-
stein Kapelle had occurredjust a few years earlier, the younger Thiirrsch-
midt possibly would have joined the Oettingen-Wallersteinservice, and the
traditionof horn music there would have been even more impressive.
In the 1780s the Wallersteincourt, located in the Riess valley north
of Augsburg, was recognized for the excellence of its music.32 Contem-

3Gerber, Neues historisch-biographischesLexikon, IV, 402. For more informationon Johannes

Thiirrschmidt[Tiirrschmidt],see Jon R. Piersol, The Oettingen-WallersteinHofkapelle and its Wind
Music (Ph.D. dissertation,Universityof Iowa, 1972), I, 469-76.
32Inaddition to the dissertationcited above, see Sterling E. Murray,Seven Symphoniesfrom the
Court of Oettingen-Wallerstein,1773-1795 (New York, 1981), pp. xi-xx.

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516 THE JOURNALOF MUSICOLOGY

poraneouscritics singled out the prince's orchestraas a precision ensemble

that included some of the period's most sought-afterperformers.Moreover,
the Hofkapelle also numberedamong its members several talented com-
posers whose accomplishmentsbroughtattentionto Wallersteinas a center
for composition as well as performance.Wind music held a place of par-
ticular distinction at Wallerstein, as is documentedby the abundanceof
wind concertos and partitas preserved today in the remains of the court
music library.33Within this repertoryspecial attentionwas accorded the
Waldhorn.J. MurrayBarbourhas pointed in particularto the virtuosohorn
parts of the symphonies composed at Wallerstein,34and this same high
level of excellence carries over to the solo horn music designed for court
musicians. Clearly, explanationfor this special flavor lies in the series of
superb horn players associated at various times with the WallersteinHof-
kapelle.
The traditionof excellent horn players at Wallersteindates back to the
1740s when the premier horn player of the Wallerstein Hofkapelle was
FriedrichDomnich, born in Hungaryabout 1728. Domnich first came to
court in 1746; he remained there only five years. Although in residence
just a short time, Domnich founded a traditionfor Wallersteinhorn players
that was to continue into the early nineteenthcentury. His place in history
rests primarilyon his pedagogical contributions,his most importantpupils
being his three sons, each of whom achieved a degree of fame as a per-
former. Most noteworthyof Domnich's offspringwas his second son, Hein-
rich, born in 1767. Heinrich Domnich went on to study with Giovanni
Punto, one of the period's best-knownvirtuosos. Like his father, Heinrich
Domnich was recognized as a great teacher, and in 1795 he became the
first professorof horn at the Paris Conservatoire,a position which he held
until 1817. Domnich's Methode de premier et de second cor (Paris, 1807)
is consideredby some the first definitive horn tutor.
In the 1760s JohannThiirrschmidtsharedhis desk with a fellow Bo-
hemian, Joseph Fritsch, who specialized in low horn. After Thiirrschmidt
returnedfrom the Thurn und Taxis court in 1773, a new secondo horn
player, JohannGeorg Nisle (1731-1788), was hiredto replaceFritsch.Nisle
was one of the few non-Bohemianhorn players associated with the Wall-
erstein Hofkapelle. He came to Wallersteinfrom the court of the Duke of

33Althoughsome of the Wallersteincourt music librarywas sold early in the nineteenthcentury,

a significantpartof the orchestralrepetoryremainsintact. The collection, which until 1980 was housed
in Schloss Harburgin HarburguiberDonauworth,is now in the possession of the AugsburgUniversi-
A thematic catalogue of the contents of this collection was compiled while the music
taiitsbibliothek.
was still in the hands of the Wallersteinfamily. This catalogue, edited by GertrautHaberkamp,was
publishedin 1976 underthe title ThematischerKatalog der Musikhandschriften der Fiirstlich Oettingen-
Wallerstein'schenBibliothekSchloss Harburg as partof a series preparedunderthe supervisionof the
music division of the Bayerische Staatsbibliothek(RobertMiinster,director). Furtherreference in the
present study to works from lthe Wallersteinmusic collection will use signaturesfrom this catalogue
under the following modified RISM siglum: D-brd HR [D-brdAu].
34J. Murray Barbour, Trumpets, Horns, and Music (East Lansing, Michigan, 1964), p. 139.
Barbourclaims that the Mannheim, Oettingen-Wallerstein,and Thurnund Taxis courts "were centers
where the horns must have been superlativein the middle of the eighteenthcentury."

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DOUBLE HORN CONCERTO 517

Wiirttemberg,where he had been a student of the famous virtuoso Jean-

Joseph Rudolph. Although hired as a replacementfor Fritsch, Nisle was a
much bettermusicianthan his predecessor,and his presence at court added
a luster to the ensemble. According to the Bavarianhistorian and critic,
Christian Friedrich Daniel Schubart, Nisle "has no equal as a second
horn. . .his double-tonguing,his dynamics, the ease with which he seizes
the 'ContraC,' his ease in playing the notes, and especially his portamento
raise him to the first rank of Waldhornplayers."35 Unfortunately,Nisle
was not happy at Wallerstein. Apparentlyhe was not well-liked by his
colleagues there and quickly became discontented. In 1776, after several
requests for dismissal, he left Wallerstein. One year later in 1777 he re-
turnedagain, but did not last the year.
In March 1776 KraftErnst'snineteen-year-oldwife, the PrincessMaria
Theresia (nee Thur und Taxis), died giving birthto a daughter.The court
was plunged into an extended period of mourning, during which musical
performancesceased. Several musicians sought positions elsewhere, and
many of those who remainedwere grantedleaves of absence to undertake
concert tours. In 1780 the prince decided to rebuildhis failing Kapelle. By
this time JohannesThirrschmidt, who had already served the court since
1752, was probably no longer able to continue as primo homist, and he
was switched to viola. The prince startedsearchingfor a team of new horn
players. In the spring of 1780, the prince's Musik-Intendant,Franz Ignaz
von Beecke, "discovered" two Bohemian horn virtuosos, Johann Nagel
and Franz Zwierzina, who were then membersof the Harmonie of Prince
von Palm in Vienna. He recommendedthem to the prince, and they were
hired for the WallersteinHofkapelle.
Nagel and Zwierzinawere well-trained musicians. Both had been stu-
dents of Anton Hampel in Dresden, one of the foremost horn teachers of
their time. Their special talents were praisedhighly by contemporarywrit-
ers, including the Bohemian lexicographerGottfriedJ. Dlabacz, who re-
portedly received his informationfrom Joseph Kaffka and JohannLasser,
two of the greatestvirtuosos of his day. The presence of Nagel and Zwier-
zina at Wallersteinwas the primaryreason for the reputationthat the court
achieved as a center of concertantehorn music. Both musicians remained
in the employ of the Princevon Oettingen-Wallersteinthe rest of their lives
and eventually relinquishedtheir positions in the Hofkapelle to their sons,
who continuedthe family traditionof horn-playingexcellence.
In additionto the talentsof local performersthe courtwas often treated
to performancesby traveling virtuosos. It was in this guise that Mozart
stopped at Hohenaltheim,the prince's Lustcholoss, in the company of his
mother on their journey throughMannheimto Paris in 1777. Among the

35"im Second-Hornschwerlich seines Gleichen hat. . .seine Doppelzunge, seine Tonschwellung,

die Leichtigkeit, womit der das Contra C hascht, sein leichtes Spiel der Tone, und namentlich sein
Portamentoerheben ihn zu einem Flugelmannunter den Waldhornisten"(ChristianFriedrichDaniel
Schubart,Ideen zu einer Aesthetikder Tonkunst[Vienna, 1806], p., 155).

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518 THE JOURNALOF MUSICOLOGY

horn players known to have performedat the Wallersteincourt is the Bo-

hemianvirtuoso, GiovanniPunto, who probablyvisited thereon his German
tour of 1785. Punto was well acquaintedwith membersof the Wallerstein
Hofkapelle. Cramer'sMagazin der MusikreportedthatPunto and the Wall-
erstein Intendant Beecke played a joint concert at Aschaffenburgon 24
March 1784, and in a letter written on 16 July 1780 to the Wallerstein
KapellmeisterRosetti, FranzLang, a courthorn player from Munich, men-
tions six horn quartetsthat Rosetti reportedlycomposed for the Bohemian
virtuoso. Certainlythe court musicians were kept awareof Punto's musical
accomplishmentsthroughCarl Thiirrschmidtwho knew him from his years
in Paris.
Consideringthe prince's special fondness for wind music, the presence
at court of extremely talented horn players, and the continued association
between the WallersteinHofkapelle and some of the best horn duos of the
period, it is not surprisingto note a thrivingcultivationof solo horn music
at Wallerstein. In particular,concertos for two horns seem to have been a
specialty of the court. In 1858, FranzZwierzina'soldest son, FranzXaver,
sold his father'spersonalmusic collection to the courtlibrary.In preparation
for this sale the youngerZwierzinadrew up an inventoryof the horn music
in his father's estate.36This index lists twenty-threehorn concertos, nine-
teen of which are for two solo horns. All of the concertosmentionedin the
index of 1858 remain in the Wallersteinmusic collection today. Although
the Zwierzinaindex dates from the mid-nineteenthcenturythe music listed
there reflects the taste of the Oettingen-Wallersteincourt duringits heyday
in the late-eighteenthcentury.
Explanationfor the particularpopularityof the double horn concerto
at Wallersteinprobably lies in a numberof factors, including the cosmo-

36"Verzeichniss iiber jene Horn Musikalien welche in das furstliche Musikzimmerabgeliefert

wurden," RechnungskommissarFranz Zwierzina in Jahr 1858 (WallersteinArchive, DieneraktenIII,
VII, 14b). The complete contents of this non-thematicindex are listed in Haberkamp,Thematischer
Katalog, pp. xxxv-xxvi (Beilage 5). Under "Doppel Concerte" appearworks by Michael Haiden [sic],
Rosetti, Witt, Hiebsch, Hoffmeister, Feldmeier [sic], Selike, Blasius, Romberg, Dornaus, and Wid-
erkehr. The last four composers are representedby prints. In addition, mention is made of variations
for two horns by CharlesKoch (1793-after 1839) and GottfriedSchunke (1777-1861). Koch's work is
dedicatedto Schunke, a musician in the WurttembergHofkapelle. Both works date from between 1815
and 1821.

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DOUBLE HORN CONCERTO 519

politan taste of the court.37The single most importantfactor, however, was

the fortuitouscombinationof talented composers and virtuoso performers
that distinguishedthe WallersteinHofkapellein the second half of the eigh-
teenth century.

The Double Horn ConcertoRepertoryat Wallerstein

Using the Zwierzinaindex as a basis, it has been possible to document
a repertoryof approximatelytwenty-six double horn concertos composed
by or for membersof the WallersteinHofkapelleor connectedin some other
direct mannerwith the court.38The chronological limits of this repertory
(c. 1752 to 1818) roughly approximatethe popularityof the genre itself.
These works can be divided into three general groups: (1) early concertos
pre-datingthe revitalizationof the Hofkapelle in 1780 and probably per-
formed at Wallersteinby Thiirrschmidtand Fritsch (or Nisle), (2) works
composed roughly between 1780 and 1794 and intended for Nagel and
Zwierzina, and (3) a few concertos-mostly by non-housecomposers-that
come from the twilight of the WallersteinKapelle.

GroupI: Before 1780

The earliest works include concertos by Leopold Mozart and Franz
Xaver Pokomy. Although Leopold Mozart was never employed by the
Wallersteincourt, the prince's father, Count Philipp Karl Domenicus, was
especially fond of Leopold Mozart's music, and today the court music
collection remains one of the largest single repositoriesfor the Augsburg
composer's instrumentalmusic.39 The double horn concerto by the elder
Mozartis preservedin the Wallersteincollection in a copy preparedin part

37Underthe patronageof both CountPhilip Karland his son PrinceKraftErnsta regularconnection

was establishedwith both Vienna and Paristhroughthe travelsof the courtMusik-Intendant,Ignaz von
Beecke, himself a well-known performerand composer. Beecke's travels to Paris probablyaccount for
most of the music in the libraryby Frenchcomposers or composers associated with that country. Most
of these works are found in prints issued by one of the Parisianpublishers.
In 1781 Rosetti was also given permissionto travel to Paris, where he undoubtedlycame under
the spell of the Parisianfascination with various types of ensemble concertos. Most of Rosetti's con-
certed orchestralmusic, including several double horn concertos as well as a symphonieconcertante
for two solo violins, were composed during this period in his life. He remainedin the French capital
until the spring of 1782. Palsa and Thiirrschmidtwere still in Paris during this time, and it is highly
probablethat Rosetti made contact with them. It was, in fact, duringthe spring of 1781 that Palsa and
Thiirrschmidthad their famous silver horns made for them by Joseph Raoux. These instrumentswere
especially designed for solo horn music and dubbed cor-solo by their manufacturer,who also made
similar instrumentsfor Punto and Le Brun (see Horace Fitzjpatrick,"Some Historical Notes on the
Horn in Austria and Germany," Galpin Society Journal XVI [1964]).
38Achecklist of this repertoryhas been appendedto the presentstudy. This list includes only those
double horn concertos known to have been associated to some degree with the Oettingen-Wallerstein
Hofkapelle. Some well-known concertos for two horns from the period under consideration(such as
those by JohannBraun, 1753-1811, and JohannChristophVogel, 1756-1788) or a slightly laterperiod
(Peter Joseph von Lindpaintner,1791-1856) have not been included since their association with the
Wallersteincourt cannot be documented.
39Inaddition to the concerto being considered here the Wallersteincollection also contains man-
uscript copies of twenty-five symphonies and three divertimentosby Leopold Mozart.

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520 THE JOURNALOF MUSICOLOGY

by Joseph FerdinandPater(c. 1715-1793), a court musician and copyist in

Munich. The title page on the set of parts bears the date "3tia Augusti
1752."40 GertrautHaberkamphas identifiedthe paperused for these parts
as coming from mills owned by Anton Fidel Adam Hofmann(1736-1775)
in Lengfelden bei Salzburg, and Wolfgang Plath has furtherpointed out
that portions of this manuscriptare in the handwritingof the composer.41
All of this suggests thatLeopold Mozartcomposedhis double hornconcerto
specifically for the Wallersteincourt. If this is trueit was probablyintended
for Fritsch and Thiirrschmidt.42Leopold Mozart's double horn concerto
was perfectly suited to the special talents of the two Wallersteinhorn vir-
tuosos. Thiirrschmidthad been trainel in the baroquetraditionof high horn,
or clarino, playing, and, althoughextreme registralrequirementsfound in
the primo horn partof Mozart's double concerto may have been too taxing
for most court horn players of the day, Thiirrschmidtcould apparently
negotiate such demandswith ease.
It is also probablethat the two concertos for two horns by Pokorny,
housed today in the Thur und Taxis music collection in Regensburg,43
were also written for Fritsch and Thiirrschmidt,who were colleagues of
Pokomy first in Wallerstein and then again in Regensburg. The first of
these is a concerto da camera in E-Flat majorpreservedin both manuscript
score and parts and identified as completed 14 September1754 at "Hoch-
enaltheim" [Hohenaltheim],the summerresidence of the Oettingen-Wall-
ersteincourt.Pokomy had returnedfromMannheimonly four monthsbefore.
A second concerto for two horns in F major is found in the Thurn und
Taxis collection in an autographscore and set of parts (on which the work
is attributedto Johann Franz Xaver Sterkel, 1750-1817). The score of
Pokomy's Double Concertoin F majorbears the date "d:30 Juli," but no
year is indicated. The paper used for this score came in part from the
Oettingen papermills of Hans Caspar Bullinger II (1717-1762) in Christ-
garten-Anhausen(Swabia) and matches that found in the score for the E-

40D-brdHR [D-brd Au] III 4 1/24?421. Although Wolfgang A. Mozart often included rather
elaboratepartsfor horns in many of his divertimentos(such as K. 131, which calls for four horns, two
of which require a virtuoso level of technical proficiency) and his several solo horn concertos, the
younger Mozartdoes not appearto have contributedto the double horn concerto repertory.
41HaberkampThematischerKatalog, pp. 134, 246; Wolfgang Plath, "Leopold Mozart," The New
Grove Dictionary XII, 678.
42Itis, of course, possible that this work was also performedat the court of the prince-Archbishop
of Salzburg, although there was no traditionin Salzburg for virtuoso solo horn music at this time.
Neither his son nor any of Leopold Mozart's colleagues at the Archbishop's court appear to have
composed double horn concertos. If the work was performedin Salzburg,the musicians were probably
Wenzl Franz Sadlo (active there from 1745 to 1786) and Franz Drasil (active there from 1745-1776).
Joseph Leutgeb (born 1732) first arrivedin Salzburgin 1763 (I am indebtedto Prof. Dr. ErnstHinter-
meier of the University of Salzburg for this information).For more on Leutgeb, see Karl Maria Pisa-
rowitz, "Mozarts SchnorrerLeutgeb," InternationaleStiftungMozarteumMitteilungenXVIII (1970),
21-26.
43The substantialand enormously importantmusic collection of the Hofkapelle of the Thurnund
Taxis family recently has been cataloguedas part of the series sponsoredby the Bayerische Staatsbi-
bliothek:GertrautHaberkamp,comp. Die Musikhandschriften der Fiirst Thurnund Taxis Hofbibliothek
Regensburg (Munich, 1981).

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DOUBLE HORN CONCERTO 521

Flat concerto.44Thus, it seems probablethat both concertos were written

at Hohenaltheimduringthe summerof 1754, shortlyafterPokorny'sreturn
from Mannheim.
In additionto Pokorny'sconcertos, the remainsof the Thur und Taxis
court music libraryin Regensburginclude two other double concertos that
might at one time have had some connection with the Wallerstein court.
One is the work of the oboist and gambist Joseph Fiala (c. 1750-1816),
who was in the employ of the Wallersteincourt from 1773 until 1776.45
Fiala's Concertofor Two Horns and Orchestrain E-Flat majoris preserved
in a set of partscopied on paperwhose watermarkidentifies it as produced
in Wolfegg, Wiirttemberg,at the mills of Joseph Anton Unold. Paperfrom
the Unold mills in Wolfegg was particularlysturdyand frequentlywas used
at both the Thum und Taxis and the Wallersteincourts for copying parts.
This particularvarietyof Wolfegg paperis also found in several of Rosetti's
concertos preserved in the Regensburg collection, some of which were
copied by Alois Ernst (1759-1814), a flutist and court copyist at Waller-
stein, and were originally part of the Wallersteincourt music library. It is
also possible that the double horn concertoby Fiala was also originallypart
of the repertoryof the Oettingen-Wallersteincourt. Perhaps it was com-
posed in 1773. In that year both Fiala and Nisle were first hired at Wall-
erstein and Thiirrschmidtwas recalled from his temporaryassignment in
Regensburg. After Nisle left court it is possible that Thiirrschmidtper-
formed the work with his old desk partnerand friend, Fritsch, at the Re-
gensburg court, and the manuscript remained in the Thur und Taxis
possession.
A second double horn concerto found in manuscriptin Regensburg
may also have had some direct connectionwith the WallersteinHofkapelle.
This work, in the key of E major, was composed by Baron Theodor von
Schacht (1748-1823), the Thurnund Taxis Musik-Intendant.Schacht was
born into a noble family in Strasbourgin 1748. Between the ages of eight
and eighteen he served the Thurnund Taxis court as a page, but then was
sent to Stuttgart,where his fatherwas in the service of the Duke of Wiirt-
temberg. In 1771 Schacht returnedto Regensburgand was appointedHof-
kavalier. Two years later PrinceCarl Anselm promotedhim to the position
of Musik-Intendant.Haberkamphas identified this manuscriptas an auto-
graph, but great controversyhas surroundedthe compositions in this col-

4Identification of watermarksis based in parton the researchof Haberkamppresentedin the two

thematiccatlogues mentionedabove.
45Thereis at present no full-length study of the music of Fiala. A short biographicalsketch, a
thematic catalogue of symphonies and symphoniesconcertantes, and an edition of a Symphony in C
majorhave been includedin Murray,Seven Symphoniesfromthe Courtof Oettingen-Wallerstein,1773-
1794, pp. xxiii-xxvi.

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522 THE JOURNALOF MUSICOLOGY

lection attributedto Schacht, and caution must be exercised in considering

these works.46
A Concertofor Two Horns and Orchestrain E-Flat majoris found in
the Wallersteinmusic collection attributedto "Michael Heiden." This at-
tributionwas clearly added later, and there is still some question regarding
the concerto's trueparentage.47It is unlikely thatthis manuscriptoriginated
at Wallerstein, since it is copied on the type of Italian paper commonly
found in Viennese sources.

GroupII: 1780-1794
The bulk of the repertoryfalls into this second group. These concertos
were composed during the heyday of the Kapelle and were designed ex-
pressly for the prince's two horn virtuosos. The works of GroupII conform
to a patternof constructionso consistent as to suggest a local idiom. The
typical Wallersteindouble hornconcerto of this period is a three-movement
work in either E, E-Flat or F major. The middle movement is normally a
"Romance" (Romanza)in a contrastingmeter and tonality. This term-
also found in symphonies and partitasby Wallersteinhouse composers-
signifies a lyric movement, normallycast in a simple sectional design. The
mellow tones of the Waldhornwere perfectly suited for the lyricism of the
Romanza, andthe slow movementsof the Wallersteindoublehornconcertos
include some of the most exquisite moments in the repertory.Concluding
movements are fashioned as rondos, which conform to conventional five-
or seven-part designs with at least one of the digression sections in the
minor mode. Some are cast in 6/8 meter and capitalize on the natural
characterof the Waldhorn,featuringhunting-callfigures with exposed horn
fifths or fanfarefigures in the instrument'smiddleregister.Such movements
often are labeled "La Chasse."
Included in this group are two double concertos in E major by the
Viennese composer and music publisherFranz Anton Hoffmeister (1754-
1812). Both works were copied at Wallerstein,and both come from Zwier-
zina's Nachlass. One concerto bears the following dedication on its title
page "Composes le 17eme Decembr. 1792 A Vienne / pour Messieurs
Nagel et Zwierzina / Musiciens de la Cour de son alte[sse le Prince] / de
Palm," and on the last page of the solo parta note claims that this concerto
was performed by Johanes Nages [sic] and A[nton Alois] Zwierzina at

46Formore informationon this controversy, see J. MurrayBarbour, "Pokomy und der 'Schacht
Katalog': Ein Beitrag zur Geschichte der furstlichenHofmusik," Thurnund Taxis-StudienIII (1963),
269-98, summarizedin "Pokory Vindicated," The Muscial Quarterly XLIX (1963), 38-58. Also
helpful is the history of Thur und Taxis music collection by Hugo Angerer which serves as an
introductionto Haberkamp'scatalogue of the collection.
47CharlesShermanaccepts Michael Haydn as the composer of this concerto, which he dates c.
1772-1775 ("Michael Haydn," TheNew GroveDictionary VIII, 411), but othersremainunconvinced.
It is attributedto Franz Joseph Haydn by Haberkamp,in her catalogue of the Wallersteincollection
(with a cross-referenceto Michael Haydn) and by EdmondLeloir in a moder edition publishedby Ka
We Editions in Amsterdam.

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DOUBLE HORN CONCERTO 523

Wallerstein in 1805. Although the reference to the 1805 performanceis

clearly to the second generation of the Wallerstein horn duo, the work
appearsto have been composed for their fathers. The reference to Prince
von Palm in association with the date 1792 is somewhatbaffling. By 1792
the elder Nagel and Zwierzina had been in Wallersteinfor twelve years,
having left the Viennese service of the Prince von Palm in 1780.
The core of the second group of concertos was writtenby three court
composers:Georg Feldmayr, Paul Wineberger,and Antonio Rosetti [R6s-
sler], the WallersteinKapellmeister,who also composed many exceptional
solo horn concertos.
Feldmayrjoined the Hofkapelleabout 1780. In additionto his activities
as a composer he also played violin in the orchestra, sang tenor solos in
the churchchoir, and sometimesplayed flute in the Harmonie. After Rosetti
left in 1789, Feldmayrserved unofficially as the directorof court music.
His compositions include several large-scale choral works as well as sym-
phonies, concertos, and wind partitas. Feldmayr's two double horn con-
certos in F major are preservedin both manuscriptscores and parts. Both
scores were written on a high-quality paper reserved at Wallerstein for
scores. This paper bears the Oettingencoat-of-armsand was made specif-
ically for the court by the firm of JohannCostantinBullinger, who operated
a mill in Christgarten-Anhausen from 1772 to 1802. Althoughneitherscores
nor partsare dated, based on their style it is likely that both were composed
in the mid- to late-1780s.48
Winebergerwas hired at about the same time as Feldmayr. He had
previously studied with both Ignaz Holzbauerand Abbe Vogler in Mann-
heim. Wineberger's earliest dated composition in the Wallerstein music
collection is a Concerto for Two Horns in E-Flat major composed in Jan-
uary, 1782. This work is found in the Wallersteincollection in an autograph
score writtenon papermanufacturedby the same firm that made the paper
used in Feldmayr's scores, althoughof a slightly earlierperiod.
Kapellmeister Rosetti left three double horn concertos in the court
music library:two in F major(Kaul 111/49,III/52) and one in E-Flat major
(Kaul III/53).49 One of the double concertos in F major (Kaul III/49) is
found in an autographscore as well as partscopied by a Wallersteincourt
copyist. The score is dated "nel mese di Marzo 1787 a Wallerstein," and

48This same paper was used in the following dated autographscores: Rejcha, Wind Partia in F
major(1783), Symphonyin D major(1784); Wineberger,Wind Partitain F major(1786), Wind Partita
"en Chasse" in G major(1786); Rosetti, Symphonyin C major(June, 1786), Concertofor Two Horns
and Orchestrain F major (March, 1787), and Symphony in G minor (March, 1787).
49Rosetticoncertos are identified by numbersestablishedby Oskar Kaul in his thematic catlogue
of the instrumentalmusic of the composer:OskarKaul, "ThematischesVerzeichnis der Instrumental-
werke Anton Rosettis," in Denkmalerder Tonkunstin Bayern, Anton Rosetti: AusgewdhlteSinfonien
12/1 (Wiesbaden, 1968). Kaul divides the instrumentalmusic of Rosetti into generic categories and
assigns each composition a number within that category. These identificationnumbers are not based
on chronologicalorder.

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524 THE JOURNALOF MUSICOLOGY

furtheridentified as "fait pour MessieursNagel & Zwierzina." Originally,

Rosetti had indicatedthat this concerto was "Composto nel mese d'ottobre
1786," but changed that on the title page. In supportof the later date, the
final page of the score reads, "Am Schluss: Il Fine. 1787." PerhapsRo-
setti's work on his double horn concerto was interruptedby final arrange-
ments for the publicationof his oratorio,Per SterbendeJesus, by Artaria
in Vienna. He was also at work duringthis time on a symphonyin G minor,
which was completed in the same month as the concerto for Nagel and
Zwierzina.
The manuscriptcopy of the other F majorconcerto ("GrandConcerto
/ pour 2 Cors avec / accompagnementd'orchestre")is atypicalof the man-
uscripts in the Wallerstein library. Several copyists are representedand
various types of paper are used, suggesting that these parts were not all
copied at the same time. Furthermore,accordingto the title writtenon the
back of the solo hornpart, the work "kann in F odor E aufgefiihrtwerden."
Accordingly, there are two full sets of parts. The E major set is missing
the solo horn parts, which, of course, could be read from the F majorparts
simply by substitutinga differentcrook. This manuscriptalso includes two
additional performingparts (principal horn and first violin), which have
been providedwith a differentfinal movement(rondo). The new finale also
appearsas the last movement in a Concertofor Two Horns in F majorby
Feldmayr (D-brd HR [D-brd Au]III 4 1/2 2? 268). Rosetti's F major con-
certo is somewhatunusualamongthe eighteenth-centuryconcertorepertory
in general in that its opening movement begins with a slow orchestral
introduction(marked "Grave"). The thematic materialused in this intro-
duction serves as the basis for the primarytheme of the "Allegro con brio"
whose contrapuntalstatementushers in the exposition proper.
The Concertofor Two Horns in E-Flat majoris an exceptional work.
It was clearly one of Rosetti's most popular contributionsto the double
horn concerto repertory.Unlike the works of his Wallersteincolleagues this
concerto exists in several manuscriptcopies outside of Wallerstein,includ-
ing the Narodni Muzeum in Prague (where it has been transposedto E
major), and Melk monasteryin Austria (where it is attributedto Mozart).
Moreover, it was published by Sieber in Paris and first advertisedin that
publisher's 1786 catalogue. Although several of Rosetti's solo horn con-
certos were published during the late-eighteenthcentury, this is the only
double horn concerto by Rosetti known to have been printed.
Rosetti's earliestessays in the doublehornconcertoprobablydate from
the late 1770s. One such work was performedby Palsa and Thiirrschmidt
at the concert spirituel on March 24, 1780. It is probablethat this piece
was writtenfor the famous duo team and that Thiirrschmidt'sfatherserved
as the contact person between the composer and the performers.It is not
certainprecisely which concerto was performedby the Bohemianduo team
in Paris in March of 1780. A possible candidateis the Concertoin E-Flat
major publishedin Paris by Sieber.

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DOUBLE HORN CONCERTO 525

It seems unlikely that the concerto mentioned on the 1780 concert

spirituel programwas originally intendedfor the Hofkapelle of the Prince
von Oettingen-Wallerstein.If that had been the case, it is not at all clear
who would have performedit. Althoughthe elder Thiirrschmidtcould have
negotiatedthe first hornpart, there was no solo-qualitylow hornplayer left
at court. Nisle, the logical candidate, had left Wallersteinon 9 December
1777, and Nagel and Zwierzinahad not yet arrived.
In 1781 the elder Thiirrschmidtjoined his son on a concert tour to
London. Little is known of their activities during that year, but it is very
likely that some of Rosetti's concertos for two horns were introducedto
English audiences duringthis tour by the father-sonduo. Perhapsthe Con-
certo for Two Horns in E major (Kaul III/51) was used on this tour. The
last movement of this composition is a rondo marked "Englisch." The
manuscriptparts for this concerto are preserved today in the Deutsche
Staatsbibliothekin Berlin. Thiirrschmidtmay have given the concerto man-
uscriptto a friend in Berlin after the death of his partner,JohannPalsa, in
1792.
By the early 1780s Rosetti's horn concertos were performed often
enough outside the confines of the Wallersteincourt to earn him a reputa-
tion. The electoral court at Koblenz is a case in point. Performancesof
double horn concertos by Rosetti there can be documentedin court records
in the period 1783-84 by the brothersDornaus, court horn players, as well
as visiting virtuosos such as Palsa and Thiirrschmidt(20 June 1783) and
the brothersBoeck (4 November 1784).50
Franz Lang, the first horist of the Munich Kapelle wrote to Rosetti
on 16 July 1780 that he had "the good fortune of knowing you through
your fame. Thereforedriven by profoundesteem and as a devoted admirer
of the horn, which I chose for my profession, I desire to make your ac-
quaintancein writing, as I am denied the opportunityto meet you in per-
son."51 On 9 February 1781 the composer received a letter from Franz
Kulmberger,the horn player at the Fulda court, who wrote:
I am taking the liberty of writing to you although I cannot boast the honor of
knowing you personally; I have gotten to know your name and incomparable
manner of composition through a concerto for two horns and some partitas for

50SeeGustavBereths,Die Musikpflegeam kurtrierischenHofe zu Koblenz-Ehrenbreitstein (Mainz,

1964).
5'Letterfrom Franz Lang to Antonio Rosetti, 16 July 1780, WallersteinArchieves, Schloss Har-
burg, Harburgiiber Donauw6rth, as quoted in Ludwig Schiedermair, "Die Blutezeit der Oettingen-
Wallerstein'schenHofkapelle," Sammelbdndeder InternationalenMusikgesellschaftIX (1907-08), p.
124; "habe ich das gliick sie durch den ruf zu kennen. Daher auss innerlicherhochschetzungund als
Verehrer des Horns, welches ich zu meinem gewerbe gewahlet, angetrieben, verlange, weil es die
gelegenheit verhindertpersonlich, doch schriftlichbekanntschaftmit Ihnen zu machen."

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526 THE JOURNALOF MUSICOLOGY

winds which happened to come into my hands. ... I would like to have another
or several two-horn concertos; you certainly must have composed some others
which one or another great nobleman or rich Cavalier has already paid you well
for, [and] which you might be able to send me for a reasonable price.52

Rosetti must have sent the concertos Kulmbergerrequested, because the

Fulda horn player wrote again on 26 May 1781 to acknowledgereceipt of
"2 Duet Concerte." Although he was pleased with the concertos, Kulm-
bergerpointedout that "wegen denen Viellen Semitoni" he would consider
them "wenig schwer." What Rosetti had come to expect as a matter of
course from the superbhornplayers of the prince'sKapelle posed problems
for less skilled musicians. This fact is furtherillustratedby the simplified
versions sometimes encounteredin copies of Rosetti's hornconcertosfound
in collections outside Wallerstein.
Double horn concertosby Rosetti were also very popularwith the court
at Darmstadt.Between November 1782 and December 1789, concertos for
two horns and orchestraby Rosetti were included on thirteenof the court
concertprograms.53Althoughmost of the Darmstadtcourtmusic collection
(including several compositions by Rosetti) was destroyedduringthe war,
at one time it included the only known copy of Rosetti's Concertofor Two
Horns in E major (Kaul II/50). This work is probablythe concerto per-
formed for the first time on 25 February1787 at the sixth "Concert a la
Salle Imperiale." It was repeated in April and October of that year and
again on ChristmasDay 1789.
The parentageof the Concerto for Two Horns in E-Flat major (Kaul
III/54) attributedto Rosetti in Prague's Narodni Muzeum is questionable.
The general structureof the Prague double concerto is not typical of Ro-
setti's horn concertos, and it may be either an early work or the productof
anothercomposer. The middle movementis not designateda Romanzaand
instead of the normalrondo finale-as in all of Rosetti's known horn con-
certos-the closing movement is cast in 3/4 and marked"Tempo di Men-
uetto." Furthermore,all movements are in the tonic key, a trait somewhat
uncommon in Rosetti's works. If this is the work of anothercomposer, a
likely candidatemight be Michael Haydn, whose Concertinofor solo horn

52Letterfrom FranzKulmbergerto AntonioRosetti, 9 February1781, WallersteinArchives, Schloss

Harburg,Harburgiiber Donauworth,as quoted in Schiedermair,"Die Bliitezeit der Oettingen-Waller-
stein'sche-lofkapelle," p. 124; "Ich nehme mir die freyheit an Sie zu schreiben, obschon ich mich
der Ehre nicht Ruhmen kann, sie personlich zu kennen, durch ein Duett Concert fur zwey Walthorn,
und etlichen Parthienauf Blass Instromenten,welche mie Gelegenheitlichin die Hande Kamen, Habe
ich Dero Nahmen und unvergleichlicheSetzartkennen Lernen. . .noch eines oder Edliche Duett-Con-
certe fur walthorn wiinschte Ich zu Haben, Sie werden doch gewiss deren mehrer haben gemacht,
welche Ihnen Von einem oder dem andernGrossen Herr od. reichen Cavalierschon bezahlt sind, die
sie mir um Einen LeidlichenPreis uber-LassenKonnten. ...." Kulmbergeraddeda postscriptin which
he quoted the opening theme of Rosetti's E-Flat major concerto (Kaul III/53) in order to have the
composer verify that this was, in fact, his composition.
5"'Hofconcerte zu Darmstadt, 1780-1790," Hessisches StaatsarchivDarmstadt,Sig. D8 Nr. 17/
5.

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DOUBLE HORN CONCERTO 527

in D major casts all three movements in the tonic key and concludes with
a Menuet.54
In all, Rosetti composed at least-at a conservativecount-five double
horn concertos. It is likely that most, if not all, of these compositions were
intended either for the horn players of the WallersteinKapelle or enjoyed
some other close association with the court musicians there.

GroupIII: after 1794

In 1796 Napoleon and his army invaded Bavaria on their way to Vi-
enna. During this difficult period many of the pleasures of court life-
including music-were suspended. Rosetti had left Wallerstein in 1789,
Feldmayrwas experiencingincreasedfinancialtroublesand seeking support
outside the Kapelle, and Wineberger,whose health was rapidlydeteriorat-
ing, also showed signs of wanting to leave court. Although Nagel and
Zwierzinaremainedactive performersthey were now joined by their sons.
The concertosof the thirdgroupwere intendedfor variouscourtmusicians.
The concertosby JohannHiebsch(1766-1820) and FriedrichWitt (1770-
1836) in the Wallersteincollection date from the twilight years of the Wall-
ersteinHofkapelle. Hiebsch wore many hats in the prince's Hofkapelle. He
served as cellist, keyboardist, horn player, music teacher to the prince's
children, and-after 1807-Corregent, in additionto his activities as court
composer. Hiebsch's two double horn concertos in the Wallersteinmusic
collection were probablyintendedfor the use of his brother,Joseph (1768-
1805), and himself. In the late 1790s both brothers are known to have
undertakena concert tour, and it is likely that these works were used on
that tour. The size of the accompanyingensemble for both concertos was
excessive by Wallersteincourt standardsduringthis period. Of all the com-
posers of the Oettingen-WallersteinHofkapelle,Hiebschpossessed the most
modest talent.
Today FriedrichWitt is probably best known as the composer of the
so-called "Jena" symphonybelieved at one time to have been the work of
Beethoven. He came to Wallersteinin 1789-perhaps to fill the void left
by Rosetti, who moved in thatyear to the courtof the Duke of Mecklenburg-
Schwerin in northernGermany. Witt is representedby a Concertino for
Two Horns in E-Flat major. The title page of the manuscriptset of parts
identifies its composer as "Kapellmeisterzu Wtirzburg,"a post that Witt
accepted in 1802. The following inscriptionappearson the second violin
part: "Concertinode F: Witt 1818." Perhapsthis work was commissioned
from Witt by PrinceLudwig, KraftErnst'sson and successor, in his attempt
to reorganize the Hofkapelle under the direction of it new Kapellmeister,
JohannAmon (1763-1825), who had come to Wallersteinin the spring of
1817. In 1818, the solo horn parts would have been performedby Franz

54CharlesShermanhas suggested that perhapsthe concertino in D major originally was part of a

serenade ("Foreword," J. Michael Haydn, Concertinoper Corno ed Orchestra, No. 9 in Accademia
Musicale, Universal Edition, 1969). Perhapsthe same is true of the Pragueconcerto.

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528 THE JOURNALOF MUSICOLOGY

Zwierzina and his son, Alois. Joseph Nagel had died in 1802, and his son,
Johann, had left court by this time.
After about 1794 the Wallersteindouble horn repertoryis markedby
an increased dependency on prints. Still preserved in the collection are
published compositions for two solo horns by MatthieuFredericBlasius,
JohannPhillip Doraus, and BernardHeinrichRomberg.Widerkehr'ssym-
phonie concertante in F major is found in a manuscriptcopy obviously
preparedfrom the Parisianprint. This literaturereflects the taste of a new
generation. The print of Romberg's Concertino, Op. 41 (1826 or 1827),
for example, bears a handwrittennote identifying this work as intended
"for the Zwierzina brothers," referringto Franz Zwierzina's eldest sons,
Franz Xaver (born 1786) and Joseph Anton Alois (born 1788). The Wall-
erstein collection also includes Deux Sextuors for two horns and chamber
ensemble written for Zwierzina's sons by Amon, the last directorof court
music.
One last work might be mentionedin connection with the taste for the
concerto for two horns at Wallerstein.This piece was composed by Joseph
Rejcha (1752-1795), uncle of Anton Reicha, and published in Bonn by
Simrock as Op. 5. No copy-either manuscriptor print-is found in the
Wallersteincollection, but there is a copy of the print in the Taxis collec-
tion, and it is known that the two courts sharedmusic as well as musicians.
The concerto is singled out here because Rejcha had been a memberof the
WallersteinHofkapelle from 1773 to 1785, when he left court to join the
Kapelle in Bonn. Rejcha's work was composed after 1785, and it probably
was not intended for the Prince von Oettingen-Wallerstein'smusicians. It
is, however, probablethat Rejcha's Concerto concertantepour deux cors
was performedby Palsa and Thiirrschmidtand, thus, has a tenuous asso-
ciation with the Wallersteinhorn players. The Regensburgcollection also
contains prints of double horn concertos by Domnich and Vandenbroek.It
is also possible that the court musicians there knew the two concertos for
two horns by JohannChristophVogel (1756-1788), whom Forkel reports
was the son of Josef Vogel, a horn player in the Thurnund Taxis Hofka-
pelle.

Althoughno complete index of all concertosfor two hornsandorchestra

composed duringthe late-eighteenthand early-nineteenthcenturieshas yet
been compiled, at presentcount this repertoryincludes at least forty works.
Sixteen of these works are very likely to have been composed specifically
for horn players in the service of the Princevon Oettingen-Wallerstein,and
at least four more were known to have been performedat court. Thus the
double horn repertoryassociated in some way with the musicians of the
WallersteinHofkapelle accounts for at least half of the known repertory.
Certainly, this qualifies Wallersteinto be considered a center for the cul-
tivation of this particulargenre. Perhapsmore important,however, is the

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DOUBLE HORN CONCERTO 529

fact that all of this literaturehas survived and offers wonderfulperforming

opportunitiesfor today's musicians. In our rush to document the musical
activities of the largercourts and the majorcities of the eighteenthcentury
and in our preoccupationwith major figures in the development and ex-
pansion of the classical style in music, we may have overlooked significant
accomplishmentsof musicians working from day to day in the many small
and sometimesisolatedcourtsof late-eighteenth-century Europe.In so doing
we have also neglected the substantialcontributionsmade by these minor
figures plying their trade outside the limelight. In attemptingto uncover
this obscured level of musical activity one is sometimes rewardedby the
discovery of the music of a composer whose works deserve better recog-
nition, a group of documents that can shed light on music-makingin the
period in general, and perhapseven a little-knownor misunderstoodrep-
ertory. The Hofkapelle of the Prince von Oettingen-Wallersteinand its
special cultivation of wind music-most particularlythe double horn con-
certo-offers all of these rewardsand perhapseven more.

West Chester University

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530 THE JOURNALOF MUSICOLOGY

APPENDIX

The WallersteinDouble Horn ConcertoRepertory:

A Checklist

Matthieu-FredericBlasius (1758-1829)
Simphonie Concertante(Concerto)for Two Horns in E major
I. Allegro II. Romance III. Rondeau
source; D-brd HR [D-brdAu] III 4 1/2 2?423 (print)
instrumentation:2 solo hr, 2 ob, 2 hr, 2 vl, vla, b
earlyedition:Paris:Imprimeriedu conservatoirede musique(RISM
B-2853)
ZwierzinaIndex, No. 12
Philipp Dornaus (1769-c. 1802)
Concertofor Two Horns in E major
I. Allegro moderato II. Romance: AndantinoIII. Rondo: Alle-
gretto
source:D-brdHR [D-brdAu] III 4 1/2 4?267 (copied from Andre
print)
instrumentation:2 solo hr, 2 fl, 2 bsn, 2 hr, 2 vl, vla, b
early edition: Offfenbach:Andre (RISM D-3439)
ZwierzinaIndex, No. 16
Georg Feldmayr(1756-after 1818)
Concertofor Two Horns in F major
I. Allegro brillante II. Romance: Adagio cantabile III. Rondo:
Allegro commodo
source: D-brd HR [D-brd Au] III 4 1/2 4?269 (score) and 4?268
(parts)
instrumentation:2 solo hr, 2 ob, 2 hr, 2 vl, 2 vla, b
ZwierzinaIndex, No. 20 and 11
Concertofor Two Horns in F major
I. Allegro assai II. Romance:Adagio III. Rondo: Allegro assai
source: D-brd HR [D-brd Au] III 4 1/2 4?270 (autographscore)
and 2?424 (parts)
instrumentation:2 solo hr, 2 ob, bsn, 2 hr, 2 vl, vla, b
ZwierzinaIndex, Nos. 21 and 8
Joseph Fiala (c. 1750-1816)
Concerto for Two Horns in E-Flat major
I. Allegro assai II. Adagio III. Rondeaux:Andante/ Allegro
source: D-brd Rtt, Fiala 7
instrumentation:2 solo hr, 2 fl, 2 hr, 2 vl, 2 vla, b
recording:Supraphon1102176
Michael Haydn (1737-1806)
Concertofor Two Horns in E-Flat major
I. Allegro maestoso II. Adagio RomanceIII. Rondeau:Allegretto

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DOUBLE HORN CONCERTO 531

source: D-brd HR [D-brdAu] III 4 1/2 2?427

instrumentation:2 solo hr, 2 ob, 2 hr, 2 vl, 2 via, b
ZwierzinaIndex, No. 1
authorshipquestionable(sometimes assigned to Joseph Haydn)
modem edition: ed. by EdmondLeloir (Amsterdam:Ka We Edi-
tions, attributedto FranzJoseph Haydn)
JohannNepomuk Hiebsch (1766-1820)
Concertofor Two Horns in E-Flat major
I. Allegro II. Romance:AndantinoIII. Rondo: Allegro
source: D-brd HR [D-brdAu] III 4 1/2 2?428
instrumentation:2 solo hr, 2 ob, 2 cl, 2 hr, 2 vl, via, b timp
ZwierzinaIndex, No. 6
Concertofor Two Horns in E-Flat major
I. Allegro molto II. Romance: un poco Adagio III. Rondo: Al-
legro
source: D-brd HR [D-brdAu] III 4 1/2 2?429
instrumentation:2 solo hr, fl, 2 ob, bsn, 2 hr, 2 vl, 2 via, b
ZwierzinaIndex, No. 17
Franz Anton Hoffmeister(1754-1812)
Concertofor Two Horns in E major
I. Allegro assai II. Romance:Adagio III. Rondo: Allegro
source:D-brdHR [D-brdAu] III 4 1/2 2?430 ("appartienta Franz
Zwierzina")
instrumentation:2 solo hr, 2 ob, 2 hr, 2 vl, via, b
ZwierzinaIndex, No. 7
Concertofor Two Horns in E major(December 17, 1792)
I. Allegro moderatoII. Romance:Adagio III. Rondo: Allegro
source: D-brd HR [D-brd Au] III 4 1/2 4?282 ("pour Messieurs
Nagel et Zwierzina")
instrumentation:2 solo hr, 2 ob, 2 hr, 2 vl, via, b
ZwierzinaIndex, No. 9
Leopold Mozart (1719-1787)
Concertofor Two Horns in E-Flat major (1752)
I. Allegro II. AndanteIII. La Caccia: Allegro
source: D-brd HR [D-brd Au) III 4 1/2 4?421 (dated 3 August
1752)
instrumentation:2 solo hr, 2 vl, via, b
moder edition: (1) ed. By Edmond Leloir (Amsterdam:Ka We
Editions), (2) ed. by William Blackwell and Robert Paul
Black (London:Musica Rara, 1971)
recording:BASF 20 22433-3
Franz Xaver Pokorny (1728-1794)
Concertofor Two Horns in E-Flat major (1754)
I. Allegro moderatoII. Adagio III. Finale: Presto
source: D-brd Rtt, Pokory 158 (dated 14 September1754)
instrumentation:2 solo hr, 2 vl, via, b

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532 THE JOURNALOF MUSICOLOGY

Concerto for Two Horns in F major

I. Allegro II. Largettopoco AndanteIII. Presto assai
source: D-brd Rtt, Pokory 162 (dated 30 July 30 but without
year)
instrumentation:2 solo hr, 2 fl, 2 vl, vla, b
recording:BASF 20 22433-3
Josef Rejcha (1752-1795)
Concerto for Two Horns in E major
I. Allegro II. Romance:CantabileIII. Rondo: Allegretto
source: D-brd Rtt, Reicha 3 (print)
instrumentation:2 solo hr, 2 ob, 2 hr, 2 vl, via, b
early edition: Bonn-Koln:Simrock, Op. 5 (RISM R-774)
modem edition:ed. by Yyonne Morgan(Zurich:Eulenberg,1974)
recording:Supraphon1102176
BernardRomberg (1767-1841)
Concertino(Concerto)for Two Horns in F major
I. Andantelento PastoraleII. Allegro III. Polacca
source: D-brd HR [D-brdAu] III 4 1/2 2?432 (print)
instrumentation:2 solo hr, fl, 2 ob, 2 bsn, 2 vl, via, b, 2 cln,
timp
early edition: Leipzig: Peters, Op. 41 (RISM R-2340)
modem edition: ed. by EdmondLeloir (Amsterdam:Ka We Edi-
tions)
ZwierzinaIndex, No. 13
Antonio Rosetti (1750-1792)
Concerto for Two Horns in E-Flat major (Kaul III/53)
I. Allegro moderatoII. Romance:AndantinoIII. Rondo:Allegro
source: D-brd HR [D-brdAu] III 4 1/2 2?433
instrumentation:2 solo hr, 2 fl, 2 ob, 2 hr, 2 vl, via, b
early edition: Paris: Sieber (RISM R-2595)
modem editions: (1) ed. by Klaas Weelink (Amsterdam,Ka We
Editions, 1966), (2) Mannheim:MannheimerMusik-Verlag,
1963 (editor unknown)
recordings: (1) Supraphon 1102176, (2) USSR Melodiya 33D
022067-68
Zwierzina Index, No. 2
Concerto for Two Horns in F major(Kaul 111/49),1787
I. Allegro II. Romance:AndanteIII. Rondeau:Allegretto
source: D-brd HR [D-brd Au] III 4 1/2 4?274 (autographscore
dated "di marzo 1787 a Wallerstein"/ "fait pour Messieurs
Nagel & Zwierzina");D-brd HR [D-brdAu] III 4 1/2 2?434
(parts)
instrumentation:2 solo hr, 2 ob, 2 hr, 2 vl, 2 vla, b
Zwierzina Index, No. 19 and 5
Concerto for Two Horns in F (or E) major (Kaul III/52)
I. Grave / Allegro con brio II. Romance:Adagio non tanto
III. Rondo: Allegro

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DOUBLE HORN CONCERTO 533

source: D-brd HR [D-brdAu] III 4 1/2 4?273

instrumentation:2 solo hr, 2 ob, 2 hr, 2 vl, via, b
moder edition: ed. by EdmondLeloir (Amsterdam:Ka We Edi-
tions, 1976)
Zwierzina Index, No. 3
Concertofor Two Horns in E major(Kaul III/50)
I. Allegro molto II. Romance:Adagio non lento III. Rondo:
Allegretto
source: Dbrd-DS (lost)
instrumentation:2 solo hr, 2 ob, 2 hr, 2 vl, 2 via, b, 2 cln, timp
Concertofor Two Horns in E major(Kaul III/51)
I. Allegro con brio II. Romanza: Adagio non tanto III. Rondo
Englisch: Allegretto
source: Dddr-BdsMus. ms. 18916
instrumentation:2 solo hr, 2 ob, 2 hr, 2 vl, 2 via, b
moder editions: (1) ed. by Klaas Weelink (Amsterdam:Ke We
Editions, 1969), (2) InternationalMusic Company
recording:Haydn Society HS-9052
Concertofor Two Horns in E-Flat major (Kaul III/54)
I. Allegro II. Adagio III. Tempo di menuetto
source: CS-Pnm XIII F 422 (Homolka)
instrumentation:2 solo hr, 2 ob, 2 vl, via, b
modernedition: ed. by Klaas Weelink (Amsterdam:Ka We Edi-
tions, 1968, attributedto Rosetti)
authorshipquestionable
Baron Theodor von Schacht (1748-1823)
Concertofor Two Horns in E major
I. Allegro tempo giusto II. Romance:AndantinoIII. Rondo: Al-
legretto
source: D-brd Rtt, Schacht 29 (autographscore)
instrumentation:2 solo hr, 2 fl, 2 hr, 2 vl, via, b
Selike (?)
Concertofor Two Horns in F major
I. Allegro con brio II. Romance:AndantelamentabileIII. Rondo:
Allegro
source: D-brd HR [D-brdAu] III 4 1/2 2?436
instrumentation:2 solo hr, 2 ob, 2 hr, 2 vl, via, b
Zwierzina, No. 10
Jacques Widerkehr(1759-1823)
Simphonie concertante(Concerto)for Two Horns in F major
I. Allegro II. Adagio III. Allegretto
source: D-brd HR [D-brdAu] III 4 1/2 2?437 (copied from print)
instrumentation:2 solo hr, fl, 2 ob, 2 bsn, 2 hr, 2 vl, via, b, timp
early edition: Paris: Au magasin du Conservatoirede musique
(RISM W-1012)
Zwierzina, No. 18

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534 THE JOURNALOF MUSICOLOGY

Paul Wineberger(1758-1821)
Concerto for Two Horns in E-Flat major (1782)
I. Allegro II. Romance III. Rondo
source: D-brd HR [D-brd Au] III 4 1/2 4?280 (autographscore
dated "mense Janvier 1782")
instrumentation:2 solo hr, 2 ob, 2 hr, 2 vl, via, b
Zwierzina Index, No. 22
FriedrichWitt (1770-1836)
Concertino(Concerto)for Two Horns in E-Flat major (1818)
I. Adagio / Allegretto II. Adagio III. Polones [sic]
source: D-brd HR [D-brdAu] III 4 1/2 2?440 (second violin part
bears date "1818")
instrumentation:2 solo hr, 2 fl, 2 ob, 2 cl, 2 bsn, 2 hr, 2 vl, via,
b, 2 cln, timp
Zwierzina Index, No. 4

Key to Abbreviations
LibrarySigla:
CS-Pnm Prague, NarodnfMuzeum, hudebnioddeleni
D-brd DS Darmstadt,Hessische Landes- und Hochschulbib-
liothek
D-brd HR [D-brd Au] Harburg iiber Donauw6rth, Fiirstlich Oettingen-
Wallerschein'scheBibliothekund Kunstsammlung,
Schloss Harburg(now in Augsburg, Universitats-
bibliothek)
D-brd Rtt Regensburg, Fiirstlich Thum und Taxissche Hof-
bibliothek
D-ddr Bds Berlin, Deutsche Staatsbibliothek,Musikabteilung

The librarysources providedhere are not complete. In each instance only

one source was provided. This checklist is not intended as a definitive
catalogue.
Instrumentation:
b basso ob oboe(s)
bns bassoon(s) timp timpani
cl clarinet(s) vl violin(s)
cln clarino (trumpet) vla viola(s)
fl flute(s) vlc cello
hr horn(s) b basso

This content downloaded from 130.237.29.138 on Wed, 18 Nov 2015 00:52:08 UTC
All use subject to JSTOR Terms and Conditions