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)

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.

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 &Beethovenconcertos 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, Gableretc. 

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 2nd 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


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.


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)


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 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
  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)
  13)Mueller B.E.:Weber-Phantasie
  14)Carl Daniel Lorenz:Elegie (Edit.Pizka)
  19)Franz Strauss:Lied ohne Worte
  20)A.Krug: Romance
  23)Richter Josef:Erinnerung an Weselicko
  25)Schmidt:Im tiefsten Walde
  27)Adam Wirth:Fruehlings-Phantasie (Edit.Pizka)
  30)Hummel: Duo
  31)Mozart WA.:Adagio (arr.)
  32)Beethoven:Adagio(arr.) aus der Sonata pathetique)
  34)Carl Matys:Waldestraum (Edit.Pizka)
  35)Mendelssohn:Nocturno aus dem Sommernachtstraum
  36)Eichborn H.:Fuenf Tonbilder
  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
  47)Reinhold Gliere:Intermezzo (Edit.Pizka)
  48)Dietrich H:Introd. & Romance
  50)C.Eisner: Szene & Arie op.9
  51)C.D.Lorenz:Phantasie(I Puritani)
  53)Franz Lachner:Notturno
  55)Lorenz:Elegie (Edit.Pizka)
  57)Gerlach H:Scherzo
  58)C.D.Lorenz:Phantasie (Edit.Pizka)
  59)Tschaikowski: Adagio aus der 5.Symphonie (arr.)
  60)Willi Weber: Konzertstueck
  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)
  67)C.A.Reissiger:Elegie & Rondo (Edit.Pizka)
  68)Zeller:Characterstueck (Edit.Pizka)
  70)C.D.Lorenz: Rondo
  75)Fengler:Adagio appassionato
  76)Sinigaglia:Lied & Humoreske (Edit.Pizka)
  77)Franz Strauss:Variationen ueber den Sehnsuchtswalzer von Schubert
  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.
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last update 29.11.2005