The french horns in the First Symphony by Gustav Mahler

The purpose of the article is to consider the function of the group of French horns in Symphony No. 1 by G. Mahler. In the center of attention of the author – the performance requirements for hornstones, due to the specificity of the interpretation of the symphonic score by G. Mahler. The methods of the research are based on the application of empirical approaches, namely – observation, generalization and systematization of the holstoristic tasks. These methods form a distinct practical component of the proposed scientific research. Structural-functional method of development of the investigated material builds complex indicators of the requirements of the executive thesaurus of the holstorist's tasks in the specified score of the symphonic work. The scientific novelty of the article is to identify and systematize the leading factors and techniques that led to the new sound of the horns, and then, respectively, the entireorchestra. The mentioned problem is studied from the point of view of the artist-performer – the use of various registers, functions and types of techniques of the game on the horns in the score of Symphony No. 1 of G. Mahler. The conclusions state that G. Mahler uses horn in all its functions, which developed in the era of romanticism: as a solo instrument, in the „choirˮ horns, interacts with other wind instruments, to support strings and tutti. G. Mahler has achieved much in enriching the expressiveness of all copper winds. One of the most original methods of reaching Mahlerʼs expressiveness is the use of extreme range registers. To make this or that voice a relief, G. Mahler often resorted to changing the sonority of the instruments of the copper and wooden groups. The playing with closed sound on horns (gestopft) attracts G. Mahler as the strongest means of accentuation. A combination of open and closed horns sounds to underscore modes, or tense tones. G. Mahler first uses these tools resources to create certain images. Often, G. Mahler succeeds in receiving glissando from horns. The playing of copper tools with a trench up (Schalltrichter in die Höhe) – a technique used in the nineteenth century for climaxes, became typical for G. Mahler.