关于维也纳圆号---希望大家讨论并补充

horn3

目前在中国，大家熟知的圆号重奏组主要是美利坚圆号四重奏和英国伦敦圆号之声，很多朋友都听过他们的专辑。前一阵子站长Stephen发了关于维也纳圆号重奏团的帖子，上面还有他们专辑的试听，我想很多人都和我一样想了解更多关于维也纳圆号的知识吧，下面从我开始介绍，请大家来补充好吗？谢谢大家！

Vienna horn维也纳圆号：德语为Wiener Horn，它是一种主要在奥地利维也纳地区的流行的在管弦乐团用来演奏古典音乐的圆号。在奥地利的维也纳这种圆号很普遍，著名维也纳爱乐乐团的圆号声部都采用这种乐器。
在十九世纪的时候欧洲就开始在自然圆号上面实验装置活塞，尝试不单纯用手来堵塞就能用活塞发出更多的半音出来，那些实验主要包括现代小号的那种直立式活塞和装上立键活塞的F调单排圆号。但是遇到要移调的时候，圆号还是要换不同调的管子才能完成吹奏F调以外调性的作品。

维也纳圆号采用的是一种由奥地利公司Uhlmann在十九世纪40年代发明的双柱状活塞，他们也管这种活塞叫泵式转阀，这种转阀与标准的直立式活塞相似，但是它并不像直立活塞那样键子直接连着活塞，而是用一根很长的链接杠杆在中间链接的。维也纳圆号这种活塞也是通过按键后活塞90度改变气流方向来减轻演奏者的阻抗，但是不同的是，这种活塞在按下之前就允许气流先通过它本身了，这样一来再加上两个相邻键子之间也的链接靠得比较近，实际上对于演奏的难度都加大了不少。

维也纳圆号管子的内径比现代圆号要小一些，而且我们也能看到它的结构也更靠近于没有没有键子的那种自然圆号，它的主导音管（哨管）也是可以换的，通常有F调、降B调和A调。所以说从功能上讲，它至今也不与现代的双排圆号和三排圆号相妥协。

随着制造技术的发展，包括转阀活塞的发明和双排圆号的使用，在很多地方维也纳圆号已经被代替了，但是在维也纳地区，这种乐器被保留了下来，维也纳人认为它演奏出来的音色更接近于古典的自然圆号，当演奏连音的时候声音更加甜美、圆润和平滑。事实上从从十九世纪中期开始，维也纳圆号至今一直没什么变化。用维也纳圆号的演奏家们通常用自然圆号那种表面球状的号嘴，而标准的号嘴是那种凹形的，这样更利于吹奏低音。

liahanxua

谢谢楼主普及圆号知识，希望以后能多多与大家分享！

horn3

谢谢你，希望能对大家了解圆号有所帮助，也希望大家有问题和疑问发帖子提出来我们讨论。

xf0747

支持版主科普帖子：）

horn3

谢谢你的支持，以后一定尽力多发些帖子，也希望大家一起来发，让圆号版像小号一样热闹起来

1143774212

我先看看那

fisheep818

支持支持，有空电话联系

1143774212

VPO各个声部的乐器都很特殊

记得VPO官网上有说：
“维也纳音响”
The Viennese Sound

The Vienna Philharmonic sees itself as having inherited a body of instrument types which at the end of the 18th century reflected the prevailing intellectual spirit and value system, not only of central Europe, but to a certain extent of the entire continent. The emergence of national schools of composition in various countries at the beginning of the 19th century led to variations in the way instruments were constructed. The works of the French impressionists, for example, and their underlying sound concepts required not only modified instruments but also reflected a change in the attitude behind the music, which had been dominated all over Europe, at least until the French revolution, by the idea of musical rhetoric. In Vienna, this change did not take place. Viennese music remained essentially faithful to concepts of sound originating from the Viennese classics, although there were some developments.

Viennese Woodwind and Brass Instruments
There are significant differences between Viennese woodwind and brass instruments and those of other symphony orchestras. The fingering on the clarinet is different, and the mouthpiece has a different form which in turn requires a special kind of reed. The bassoon has largely the same form as the German version, but with special fingering and reeds. The trumpet has a rotary valve system and in places a narrower bore.

The trombone has a narrower bore as well which enables improved tone color and dynamics, as does the (Viennese F-) tuba, which also has a different valve system and fingering. The flute is largely the same as the conventional Böhm flute which is widely used all over the world. However, it did not replace the wooden flute in Vienna until the 1920's. Here too, as with all wind and brass instruments in the Viennese classics, vibrato is used very sparingly. Up to that time vibrato was regarded as a form of embellishment rather than a permanent way of beautifying the note and it was reserved almost exclusively for the strings. It is interesting to note that an increasing number of international wind instrument soloists are rejecting vibrato as stylistically inappropriate in their interpretations of the Viennese classics. Of course, the Vienna Philharmonic winds use vibrato in pieces where it is intended as a stylistic element.

The greatest differences between Viennese and internationally used instruments are to be found in the Viennese (F-)horn, which has a narrow bore, an extended leadpipe and a system of piston valves. The advantage of these valves is that the individual notes are not so sharply detached, making smoother legato playing possible. Viennese horns are also constructed of stronger materials than conventional double horns.

The Viennese oboe, played only in Vienna, differs from the internationally played French oboe in that it has a special bore shape, a special reed and special fingering.

With the exception of the flute and, to some extent, the bassoon, the typical differences in tone of Viennese instruments can be described as follows:They are richer in overtones, i.e., the sound tone is brighter. They have a wider dynamic range, thus making possible greater differences between "piano" and "forte". They enable greater modulation of sound: The musician can alter the tone color in many ways.


The way an orchestra sounds is a result of tradition and the concepts of sound arising therefrom. The roots of the Viennese brass tradition are to be found in Germany. Hans Richter played a vital role in the development of this tradition. Due to him, a great many Vienna Philharmonic brass players were invited to play at the Bayreuth Festival, and numerous German brass players, mainly trombone and tuba players, were engaged to play in Vienna.

Viennese Percussion
Viennese percussion has the following unusual features: The skin of all the membraned instruments is genuine goat parchment, which gives a richer range of overtones than artificial skins (aural.at). The adjustable kettle of the Viennese timpani is pressed against the skin. The manually operated tuning screws allow greater tuning accuracy compared to instruments which are tuned with the feet. Of the various types of drum, preference is given to those which have a cylinder with no drawbar/tie rod mounting and can thus vibrate freely. Since these instruments developed from clapperless hand bells they are cast and not made of sheet metal like today's instruments. The tonal differences between these and instruments used internationally can be measured and charted using digital analysis.

Viennese Strings
In the field of the Viennese strings, which are justly famous for their sound, in-depth studies have still to be carried out. Although there is a clearly perceptible continual development there is no fully standardized Viennese violin school. There can be no doubt that the Viennese string instruments themselves, unlike the winds, are not of prime importance in producing the orchestra's unique sound. With a few exceptions, the quality of the instruments of the string section is not particularly outstanding. More important is that the string section of the Vienna Philharmonic is more like a workshop in the middle ages, where newly-arrived musicians are initiated into and absorb the secrets of the orchestra's special musical style.

Thus, an orchestral sound is created which essentially corresponds to that which the great composers of the Viennese classics, Viennese Romanticism and the 2nd Viennese School intended when they were writing their works