Who is behind this?

What are our motives for the SNHT?

The lecturers:

• Maria Antonia Riezu is a lecturer at the CSM Salvador Seguí Castellón (Spain). She is a member of the Orchestra of the 18th Century under F. Brüggen and an internationally active musician and teacher. https://www.mariantoniariezu.com/
  

• Alexandre Zanetta has been a lecturer in natural horn at the Schola Cantorum Basiliensis (FHNW) since 2021. He is in demand internationally in ensembles such as the Akademie für alte Musik Berlin and the La Cetra Barockorchester Basel and is considered one of the leading figures of his generation for the instrument. https://alexandrezanetta.com/

• Camille Thoorens completed her studies at the Schola Cantorum Basiliensis in pianoforte and song accompaniment in 2021. She taught as a répétiteur at the Saint-Louis music school and worked as a cantor in various churches in Switzerland. Her talent as an accompanist on various keyboard instruments makes her a sought-after accompanist today, especially for singers and wind instruments.

Comments from an amateur natural horn player

Curiosity led me to start playing the natural horn four years ago. I was driven by questions. For example, why do horn players have to transpose most pieces in a symphony orchestra and not the other instruments? Special brain acrobatics for the horns, which are otherwise already busy enough with their “Kieksers”? Or after listening to various Mozart horn solo recordings, I wondered why some recordings sound rather even and others are funny, light and with different fascinating timbres as if played by a different instrument? My research led me to the local instrument maker Egger where the story began…

In my search for like-minded people I quickly reached my limits. There are hardly any amateurs in this field. I want to change that which is why I am involved in the organization of the Swiss Natural Horn Academy in Beatenberg and – of course – also take part in them.

There is currently no comparable event in Switzerland. However, historical performance practice is practiced in the professional scene and will gain importance in the amateur scene with a time lag.

Prejudices against natural horns are particularly widespread among amateurs. They are said to be more difficult to play than modern double horns and the intonation is not right. However, when they are used for the music for which they were created, it quickly becomes apparent that they are perfectly suited to it! There is a lot to be said for the natural horn:

• No more tedious transposing.
• Due to the narrower scale length, the high notes are easier to reach.
• Every crook offers new timbres.
• It weighs less.
• More virtuoso playing because no valves have to be folded down.
• Interesting new experiences of how the horn sound is formed.
• The longer tubes promote concentrated and clear airflow not only for the natural horn, but also for the modern double horn. The overall sound becomes airier and fuller.
• Stopping is fun!
• Promotes musical imagination, because you have to visualize each note before it is formed.
• The radiant sound of natural tones!

That is why I would like to encourage you all to experience the natural horns together. See you in Beatenberg!