Vienna

The Viennese Study Plan for Horn
The following study-plan has been establishedby Prof.Karl Stiegler (1876- 1932) & his nephew Prof. Gottfried von Freiberg (1908-62)
click here for more informations about von Freiberg gottfrie.htm or Karl Stiegler karlstie.htm or the Vienna Philharmonic VPOHorns.htm or the Viennese Horn VIENNESE.htm
Preparatory study:	(three years)
1st year::	Building up the right horn tone natural horn method by Karl Stiegler or Gottfried von Freiberg (manuscript/ Pizka Edition)
1st year::	scales & interval studies for all minor & major keys, preparatory studies for the lip trill, first easy studies, easy pieces for horn & piano accompaniment J.Schantl: 92 studies for the beginner on the valve-horn - alternatively Josef Schantls Great theoretical & practical horn method, book 2a/b easy studies by Meifred, Sander, Clodomir, Pares,Capelli, Cardoni and studies with piano accompanyment by Sawart-Wottawa (40)
2nd year:	Continued scales & interval studies (Schantl Method) , naturaltrill studies, preparatory & studies for the transposition collected & arranged in a systemathic order by K.Stiegler (147 studies) Studies by Rossari, Klotz, Kopprasch, Oscar Franz, Cacciamani, Gallay,Artot Exercises with piano accompaniment by Duvernoy-Mandyczewski, Fritz Muth &Fr.Schneider Studies by Henri Kling.
2nd year:	easy recital pieces the Schantl solo book & Schantls Method book no.3 (120 easy & melodicpieces to build up musical taste & presentation ability
3rd year:	studies for transposing studies by Jacqmin, Nemetz, Klotz, O.Franz, Kopprasch, Gallay & Gugel in continuation ofthe above mentioned 147 studies studies by Mueller, Paudert, Rossari, Kling, A.Wirth, Blume-Stiegler, Mohr, Fontana, Ficini, Mariani, Cristiani - according to the acquired skill studies with piano accompaniment by Merck, A.Mueller, Mondini
	Recital pieces & first sonatas & easy concertos several composers (see list) - sonatas by Spindler, Duvernoy, Ad. Blanc, Eichborn, Goepfert & Nisle &Beethoven - concertos by Mozart (l & 3) & Carl Matys (4)
	during all three years: exercises for reading at sight duets, trios &quartets brass ensemble once a week
Master Course:	(three years)
1st year:	Improving the technical skillp studies by Kling, Artot, Gallay, Gugel, Muller(and part), Nowak, Mohr, Muth., Bartolini-Stiegler
	Introduction to the orchestra & chamber music literature Excerpts from orchestra parts & chamber music
	recital pieces, concertos & sonatas by Wilm, Raff, Lewy, Nisle, J.Richter, Bibl, Glazunov, Gabler , etc. concertos by Mozart (2 & 4), Carl Matys & Franz Strauss sonatas by Krufft, Nisle, Duvernoy
2nd year:	Further improvement of the technical skill studies by Gallay, Artot, Kling, Nauber, Kling, F.Strauss, M.Alphonse, Mohr
	Preparatory studies for B-flat & A-horn (works fine with the little A-crook on the single horn or with the 2^nd valve fixed on the Bb-horn)
	Introduction to the orchestra literature excerpts from Wagner's compositions
	studies with piano acc. Cugnot & others
	sonatas & recital pieces: by Ries, Rheinberger, Zenger, Wojacek, Beethoven, Camilla Bellonciet Maximilian Leidesdorf recital pieces by Dukas, Rebay, Senigaglia
	concertos by Matys, Saint-Saens, F.Strauss again
3rd year:	concert studies by O.Franz, Ranieri, Bergonzi, Rossari, Belloli, Sauveur, Maxime-Alphonse (vol.5 & 6)
	Introduction to the orchestra literature excerpts from R.Strauss' compositions, Gustav Mahler, modern opera literature, symphonic repertory
	exercises & excerpts on the Wagnertuba Anton Bruckner Symphonies No.7 - 9, Richard Wagners RING, R.Strauss: Elektra, Frau ohne Schatten, etc.
	chambermusic *chamber music of all possible settings (I did this at home in Linz with my* friends from the Anton-Bruckner-Conservatory, so to be freed of that things in Vienna)**
	concertos by C.M.v.Weber, J.Haydn, R.Strauss (No.1 & No.2), Franz Strauss, August Kiel, Paul Hindemith, Bernhard Krol concert pieces by R.Schumann, Wichtl, C.Eisner, Grube etc.
	Sonatas & fantasies by Haas, Horn, Braun, Haindl & by Czerny, Roentgen & Zoellner
Roland Berger & Hans Pizka	*Josef Schantl: Great Method Vol.II a & b* *No.11 through 120 only from Stieglers 147 studies as above* *the 2 vols. Mueller Etudes, followed by no.121 through No.140 from Stieglers 147 studies, followed by Franz Naubers Etudes vo.1 & 2)* *Fritz Muth: op.51b 10 Uebungen zur Bildung eines großen Tones* *Adam Wirth: Etudes with Piano acc. No.1 - 7, 29, 8-9, 26, 28, 10-25* *Aug.Panseron: 12 Etudes speciales (arr.Freiberg),* *Vinc.Ranieri: Vol.I & II,* *Cugnot: 30 Etudes avec Piano no.1 - 10,* *V. Ranieri: Vol.III,* *Joseph Mohr: 23 Etudes,* *Cugnot: Etudes vol. III with piano acc. No.21 - 29, Concerto (No.30),* *Mondini: Etudes No.1 - 11, 13 - 39 (in diff. Transpositions, pianio acc.).* *Pre-studies for B-flat-horn & horn in A: no.1-80* *Oscar Franz: 10 Concert Studies with piano acc.,* *L.F.Gallay: Etudes op.57, J.R.Lewy: 12 Etudes pour le Cor chromatique ou le Cor simple av.acc.de piano,* *Carlo Rossi: 10 virtuoso Etudes, Domenico Gatti: 10 virtuoso studies with piano acc.,* *Marco Bordogni: 50 Etudes with piano acc. (arr. by Freiberg), L.F.Gallay: Etudes op.32, Agostino Belloli: dodici studi progressivi,* *Maxime-Alphonse: Vol.V. Etudes tres difficiles,* *Maxime-Alphonse: Vol.VI. Grand Etudes nouvelles melodiques et de virtuosite.*
	*Several of the studies or pieces above might be exchanged against some newer pieces indeed according to the difficulty 6 the students progress*

	Here comes a list of the accompanied (piano) pieces, studied during these six study years.
	1)Wermann:Adagio religioso
	2)Mueller B.E.:Notturno
	3)Eschmann:6 Stuecke
	4)Mueller B.E.:Wiegenlied
	5)Dilcher:Waldeinsamkeit
	6)C.Saint-Saens:Le Cygne
	7)Rasmussen:Stimmung & Nocturno
	8)B.E.Mueller:Andante religioso
	9)Saint-Saens:Romance op.posth.
	10)Eschmann: Im Herbst
	l1)Carl Matys:Vier Stuecke (Edit.Pizka)
	12)Sabathil:Sehnsucht
	13)Mueller B.E.:Weber-Phantasie
	14)Carl Daniel Lorenz:Elegie (Edit.Pizka)
	15)C.Matys:Romance
	16)C.Matys:Gondellied
	17)Bibl:Stimmungen
	18)Mueller:Melancholie
	19)Franz Strauss:Lied ohne Worte
	20)A.Krug: Romance
	21)Dubois:Cavatine
	22)B.E.Mueller:Phantasiestueck
	23)Richter Josef:Erinnerung an Weselicko
	24)Hohlfeld:Phantasiestueck
	25)Schmidt:Im tiefsten Walde
	26)B.E.Mueller:Staendchen
	27)Adam Wirth:Fruehlings-Phantasie (Edit.Pizka)
	28)B.E.Mueller:Melancholie
	29)Kronke:D-Dur
	30)Hummel: Duo
	31)Mozart WA.:Adagio (arr.)
	32)Beethoven:Adagio(arr.) aus der Sonata pathetique)
	33)Kowal:Adagio
	34)Carl Matys:Waldestraum (Edit.Pizka)
	35)Mendelssohn:Nocturno aus dem Sommernachtstraum
	36)Eichborn H.:Fuenf Tonbilder
	37)Gerlach:Romanzen
	38)Ortner:Romantisches Lied
	39)Mozart:Sonata (arr.v.Ehrlich)
	40)Eduard Kronke: F-Dur
	41)Gabler Egon:Konzertstueck
	42)Berthold:Drei Lieder
	43)Reinhold Gliere:Nocturno (Edit.Pizka)
	44)Franz Strauss:Fantasie op.6 (Edit.Pizka)
	45)Richter Josef:Lied ohne Worte
	46)Bruneau:Phantasie
	47)Reinhold Gliere:Intermezzo (Edit.Pizka)
	48)Dietrich H:Introd. & Romance
	49)C.D.Lorenz:Rondo
	50)C.Eisner: Szene & Arie op.9
	51)C.D.Lorenz:Phantasie(I Puritani)
	52)Scriabine:Romance
	53)Franz Lachner:Notturno
	54)McDowell:Arabeske
	55)Lorenz:Elegie (Edit.Pizka)
	56)Glazunov:Reverie
	57)Gerlach H:Scherzo
	58)C.D.Lorenz:Phantasie (Edit.Pizka)
	59)Tschaikowski: Adagio aus der 5.Symphonie (arr.)
	60)Willi Weber: Konzertstueck
	61)P.Dukas:Villanelle
	62)Richter Josef:Lied ohne Worte
	63)C.A.Poeck:Adagio & Rondo
	64)A.Tscherepnine:Esquisse (Edit.Pizka)
	65)C.D.Lorenz:Notturno (Edit.Pizka)
	66)Leroux:Sonate
	67)C.A.Reissiger:Elegie & Rondo (Edit.Pizka)
	68)Zeller:Characterstueck (Edit.Pizka)
	69)Ernst:Elegie
	70)C.D.Lorenz: Rondo
	7l)Herbst:Symph.Phantasie
	72)Sauer:Romance
	73)Szabo:Abschied
	74)Forster:Gedenkblatt
	75)Fengler:Adagio appassionato
	76)Sinigaglia:Lied & Humoreske (Edit.Pizka)
	77)Franz Strauss:Variationen ueber den Sehnsuchtswalzer von Schubert
	78)Braun:Phantasie
	79)Kudelski:Concertino

	*This is not a chronological list. Pieces be selected according to the acquired skill.* The main purpose of these pieces was not, to study them to perfection, no, the main purpose was it, to establish a certain musical taste & forms of interpretation. Several of the pieces above might be exchanged against some newer pieces indeed, other contemporanean pieces might be added to this list, to get a feeling for the music of our days.
	But remember, Roland Berger & myself were not "innocent" when we began studying with Gottfried von Freiberg. We both had studied the horn for several years with our fathers, who were principal horn players also.
	Hans Berger was principal horn of the Berlin State Opera before 1945 & the Vienna State Opera after 1945. He also played the LONG CALL at the Bayreuth Wagner Festival.
	My father Erich Pizka had been named the "never fail horn player" . He was principal horn at the Bruckner Orchestra & has taught a legion of students. click here for more informations about Erich Pizka: ErPizPro.htm or ErPizka.htm
	The whole number of etudes we got through was nearly 1000 (one-thousand). Gottfried von Freiberg never let us play whole etudes in a rush.
	He selected the mostdemanding or most critical lines, measures or phrases, from the ten studies we had in our weekly homework (plus the solo pieces & excerpts). Or he let us play critical spots in the most unthinkable transpositions. Why did we learn more than usual & more for sight reading ? Because we had to learn the things quickly.
	Because we were sitting in the classroom, waiting until we got our turn to play for Gottfried von Freiberg **(he accompanied even the most difficult Strauss No.2 on the piano by himself !!!) - 15 students in the afternoon, half hour break & rushing to the Philharmonic Concert in the Musikverein or to the State Opera doing Rosenkavalier)**
	Because we could listen to our classmates mistakes & the corrections given by von Freiberg - Because we could listen to our classmates advantage over us so to encourage us to speed up to line up with them. We worked on excerpts as solo (I remember one lesson with Tschaikowski No.5solo, *when he let me play it 30-times in a row, until he liked it - later I knew, he had to play* it the same evening !) or in the section, switching the parts as often as possible.
	*(nobody but a very few might expect to land first as a principal player,* *when becoming a professional player if ever)*

	*Where are these teachers ? Gone forever probably.* *Now you have something to chew.* *Feel free to ask me about the pieces above.*

	email:hans@pizka.de main homepage: index.html publication list: Pizka-music.htm Sitemap: Sitemap.html Fax: (49) (89) 903-9414
	enjoy also my Siegfriedpage by clicking here sigfrid.htm and the MIDI files on my publication list at Pizka-music.htm from where you should click you through to the category of music which might be of your interest.

last update 29.11.2005