Abstract
Rarely has one composer given us so much potential insight into a crucial historical development of an instrument as that revealed by the works for horn and piano by Carl Czerny. The Introduction and Concertante Variations, Op. 248, written for valved horn ca. 1830 demonstrates Czerny’s knowledge of valve technology, but subsequently he composed for the natural (valveless) horn in the Brilliant Fantasies, Op. 339 (ca. 1836), and the Andante e Polacca (no opus number, 1848). We do not know exactly why he seemed to turn his back on the new development of valves, but we can learn some of his thoughts and feelings about the use of the horn from his School of Practical Composition, Op. 600 (first published 1839). In the English version of 1846 there are several points in the main section on the use of the natural horn, but he refers to brass instruments with valves only in the appendix, where he gives an outline of the “Sax Horn” family. This is how he perceived the duet combining piano and horn, a popular form of nineteenth century salon music:
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