VIENNA HORNS

«Dear Mr Tomböck,
I have now listened to your Vienna horn recording – magnificent!
Simply fantastic, what tone and what technique!»

To me, the story of the Vienna horn (in F) has been an incredible epic.
When I came to Vienna in 1948, the great orchestras throughout the world were playing the heavy double horns or small horns an octave higher in F or G for extremely high parts.
The purpose was to widen the spacing of tones on each valve by shortening the length of the tube and thus to make the instrument proof against the «cracking» of tones. True, there was less «cracking», but the price was very high - too high in my view! Beauty had been sacrificed to accuracy - thoughtlessly in my view! Because the summum bonum in music is beauty and we musicians must make every sacrifice for the sake of beauty. - Musicians sacrificed the sacred challenge of risking everything for the sake of playing beautifully to the other challenge of avoiding mistakes. What have we gained if everything is accurate but nothing is wonderful? -
The Viennese remained true to their F horns. Even in times when the slightest slip was regarded as a capital offence, they would not give up their magical romantic sound and their magical smooth legato. For years and years they were laughed at as old-fashioned but their justification would have been, «What's the use of all that accuracy if it means we must give up this sound?» They preserved it - fighting heroically - and are the envy of the world today - it almost seems as if some circles are considering a return to the good old horns! Despite the risk - no price is too high for beauty!

Nikolaus Harnoncourt

«The Horn Call», May 2006
Magazine of the International Horn Society, USA

One of my students brought this CD to her lesson and asked, «Have you heard this?» She loaned it to me and I ordered it on-line that night! This is the most incredible horn ensemble CD on the planet: The London Horn Sound on steroids! The sales of Wiener Pumpenhorns should soar!
Here are thirteen hornists from Vienna, many from the Vienna Philharmonic, joined by one percussionist. The CD notes state that «Only Vienna horns were used in these recordings». Each hornist is listed with the maker of his instrument.What is most impressive: the fabulous sound and intonation, the incredible high registers, the unbelievable low playing, the fantastic articulation, the awesome power? I ordered the CD on-line from the Austrian Radio site (orfshop@orf.at) for $ 16,80 US, including shipping. I don’t usually listen to recordings repeatedly but have listened to this one in its entirety at least four times this month and plan to include it on all long automobile treks!
Maybe the antiquated Vienna single F horn with its double piston valves, operated by a cumbersome lever system, and intonation problems is not the best instrument for the modern horn soloist. In the hands of these gentlemen, it is an incredible instrument – you will want to own one after hearing this CD!
The recording opens with Kamen’s theme from the movie Robin Hood Prince of Thieves, arranged by Josef Reif, one of the ensemble members. It is so thrillingly rendered that if you hear only this performance, you will pull out your credit card to order it. If this doesn’t grab you, you are not a hornist!
The Titanic arrangement is the same recorded by The London Horn Sound crew. Sorry guys, the Vienna gentlemen win – who would have thought this remotely possible?
Yes, there is some «wah-wahing» on some of the slower arrangements but, good grief, if most of us could play that well on our doubles, descants, and triples we would be thrilled.
Possibly the most impressive performance from the standpoint of sheer virtuosity is the arrangement of Schumann’s Konzertstück, performed by a solo quartet, accompanied by only horns. Thanks to the virtuosity of all, the performance is simply unbelievable from the e’’’s to the basement.
These hornists are not just technical monsters – they have a soul. Mahler’s setting of Friedrich Rückert’s song: «I live alone in my heaven my loving, in my song,» is an emotionally-charged performance featuring solo Wagner tuba (Wolfgang Tomböck). Tomböck and Thomas Jöbstl alternate as the principal horn throughout the CD. Both are beyond incredible!

William Scharnberg