Luogo e data di registrazione		Bayerischer Hof, Vienna (Austria) - novembre e dicembre 1973 (Mozart, KV 412 und 514) Amsterdam (Olanda) - gennaio & aprile 1971 (Bach, BWV 14) Casino Zögernitz, Vienna (Austria) - giugno e ottobre 1972 (Bach, BWV 24) Bennebroek (Olanda) - maggio 1969 (Beethoven)
	Registrazione: live / studio		studio
	Recording Supervision		-
	Edizione LP		TELEFUNKEN - 6.42321 AP - (1 LP - durata 47' 41") - (p) 1977 - Analogico
	Originale LP		TELEFUNKEN - SAWT 9627-A - (1 LP - durata 53' 30") - (p) 1974 - Analogico (Mozart, KV 412 und 514) TELEFUNKEN - 6.42173 AW - (1 LP - durata 30' 00") - (p) 1977 - Analogico (Mozart, KV 407) TELEFUNKEN - 6.35030 EX - (2 LP's - durata 47' 06" & 35' 54") - (p) 1972 - Analogico (Bach, BWV 14) TELEFUNKEN - 6.35033 EX - (2 LP's - durata 32' 33" & 32' 18") - (p) 1973 - Analogico (Bach, BWV 24) TELEFUNKEN - SAWT 9547-A - (1 LP - durata 50' 03") - (p) 1969 - Analogico (Beethoven)
	Prima Edizione CD		TELDEC - 8.41272 ZK - (1 CD - durata 53' 30") - (c) 1984 - AAD (Mozart, KV 412 und 514) TELDEC - 8.35030 ZL - (2 CD's - durata 47' 06" & 35' 54") - (c) 1985 - AAD (Bach, BWV 14) TELDEC - 8.35033 ZL - (2 CD's - durata 32' 33" & 32' 18") - (c) 1985 - AAD (Bach, BWV 24)
	Note		Long playing compilation.

The action of a certain chamber musician named Henrich Stölzel from Pless in Upper Silesia in "attaching a simple mechanism to the French horn in order to perfect it, whereby it acquired all the notes of the chromatic scale in a range of almost three octaves, harmonious, pure and strong" was justifiably described in the "Allgemeine Musikalische Zeitung" (general musical journal) of 1815 as a pioneering innovation in the history of the horn's development. The chronicler of that time continued: "All unnatural tones, which previously were produced by stopping the bell with the right hand, are completely similar to the natural tones, and retain the character of the French horn". Other instruments also underwent a development process of this kind. It offered them, regardless of whether the instruments were violins, oboes, organs or pianos, more tonal volume, greater "penetrating power" and clearer intonation. However, it bought this progress at the expense of those tonal values which, on the basis of more precise knowledge of original instruments and of performance practice, we desire today when rendering the music of earlier epochs. The reference to the fact that the unnatural tones of the horn are in the case of the valve horn (the new achievement) "similar" to those of the natural tone scale, indicates after all the discrepancy between the two kinds of horn. Admittedly an alternative between the two tonal types exists only in our day, since we are able to distinguish between the much more difficult manner of blowing the natural horn and the technique of modern horn playing, alleviated by means of valves. The use of the natural born is usually associated with signals (that is to say, audible signs, such as post horn motifs); in this respect, the demands of the motif signal can be intensified to the heights of artistically set musical passages. The rediscovery and intensive cultivation of baroque music in our century made one thing clear works scored for horns were, to a large degree, excluded from representation in the original, authentic sense, because only few horn players master the art of "clarinblasen", the 17th and 18th century method of virtuoso trumpet playing which produced the highest harmonics. among these is without doubt Hermann Baumann, who demonstrates with examples by Mozart and Bach that even the pieces highest pitches pose no insuperable difficulties which arose from the original instruments with unusual diapason and from other mouthpieces, which un turn led to their adjustment and changes in blowing techniques. The art of horn playing today is naturally no longer hauged by the extreme demands made by "clarinblasen" of the baroque era. In place of the fanfare-like solo passages, as the examples from the Bach cantatas show, the horn is given cantilenas which, with soft but nevertheless emphatic tones, fit more strongly into the other range of instruments. Finally the art of "stopping", going beyond the criteria referred to, became the yardstick for measuring realisation of the ideal of cantabile, also in the sector of horn music. Gerhard Wenke (English translation by Frederick A. Bishop)