Horneman & Erslev.
Danish firm of music publishers and dealers. It was established in Copenhagen in January 1846 by the composers J.O. Emil Horneman (1809–70) and Emil Erslev (1817–82), succeeding the firm of Horneman & de Meza (founded 1844). In 1859 Horneman left the company, which continued under Erslev. In the 1860s some editions show the firm as Horneman & Erslev (Emil Erslev), others as Emil Erslev (Horneman & Erslev). On 20 April 1869 it was taken over by the composer and musicologist S.A.E. Hagen (1842–1927), who continued publishing under the name of Horneman & Erslev. The firm of Wilhelm Hansen took it over in June 1879.
The company held a central position in Copenhagen’s music life. Horneman was a fertile and popular composer who after leaving Erslev managed the music publishing house of C.E. Horneman, owned by his son, the composer C.F.E. Horneman (1840–1906), a friend and publisher of Grieg. This had been founded in 1861 and issued a number of periodicals including Musikalske Nyheder (1861–75) and Nordiske Musikblade (1872–5). The firm was sold to Wilhelm Hansen in 1875. Erslev was not only an esteemed composer, but also a respected performer; he co-founded the Students’ Choral Society (which his son-in-law Niels Gade conducted). S.A.E. Hagen was a composer, but is better known for his comprehensive and valuable collections of notes on Danish music history (MS in the Royal Library, Copenhagen).
The number of works published exceeds 1150. Plate numbers were used from 1850. Important music periodicals, edited in sequence by Horneman, Erslev and Hagen, include Musikalsk museum (31 vols., 1847–79; songs and piano music), with numerous first printings of noted compositions, and Album for sang (9 vols., 1867–77; songs), also including original editions of Scandinavian music. A large and important music hire library with excellent printed catalogues (1847, 1850–54, 1856, 1860) survives in the State Library at Århus.
D. Fog: Musikhandel og Nodetryk i Danmark efter 1750 (Copenhagen, 1984), i, 332; ii, 182 [incl. dated plate nos.]
D. Fog: Notendruck und Musikhandel im 19. Jahrhundert in Dänemark (Copenhagen, 1986), 117, 294 [incl. dated plate nos.]
Horner [Hörner], Thomas
(b Eger, c1525; d after 1605). German diplomat and music theorist. After attending the universities of Königsberg (1545–6), where he may have taught music, and Frankfurt an der Oder (1553–5) he entered the service of the Teutonic Order and was sent as a diplomat in 1557 to Tsar Ivan IV of Russia and in 1559 to King Sigismund II of Poland. In 1559 Horner was invested with an estate in Kurland and in 1568 raised to the nobility; his descendants remained in Kurland until the end of World War I. Horner wrote the treatise De ratione componendi cantus (Königsberg, 1546) and the five-voice song setting Ich armer man kum auf den plan published in Etliche teutsche Liedlein geistlich und weltlich (Königsberg, 1558; ed. P. Kugelmann). The treatise, which names Boethius, Guido of Arezzo, Tinctoris and Gaffurius as authorities, was the first theoretical work printed in Königsberg. Its seven chapters constitute a survey of contemporary music theory that may reflect Horner's class teaching.
J. Döring: ‘Einiges zur Biographie des Thomas Horner’, Sitzungsberichte der kurländischen Gesellschaft für Literatur und Kunst (Mitau, 1869), 29–30
J. Döring: ‘Neuaufgefundene biographische Notizen über Thomas Horner’, Sitzungsberichte der Kurländischen Gesellschaft für Literatur und Kunst (Mitau, 1882), 63–4
O. Ungewitter and R. Reicke: ‘De ratione componendi cantus autore Thoma Hornero Egrano, nebst biographischen Notizen über Thomas Horner’, Altpreussische Monatsschrift, xxii (1885), 50–8
G. Pietzsch: ‘Zur Pflege der Musik an den deutschen Universitäten bis zur Mitte des 16. Jahrhunderts’, AMf, vii (1942), 154–64, esp. 156, 160; pubd separately (Hildesheim, 1971)
H. Haase: ‘Eine wichtige Quelle für Johannes Stobaeus Grudentinus: sechs Sammelbände aus Königsberger Beständen in Göttingen’, Festschrift für Friedrich Blume, ed. A.A. Abert and W. Pfannkuch (Kassel, 1963), 176–88
H. Hüschen: ‘Thomas Horner und seine Kompositionslehre De ratione componendi cantus, Königsberg 1546’, Musik des Ostens, iv (1967), 136–76
HEINRICH HÜSCHEN/CLYTUS GOTTWALD
In part-writing, a type of hidden 5ths occurring when each part approaches its note from an adjacent note of an overtone series containing that 5th, thus in imitation of two-part writing for the natural horn (ex.1). See Hidden fifths, hidden octaves.
(b Scheffau, Kufstein, Austria, 10 June 1926). Austrian harp maker. Initially trained as a cabinet maker, he met the German harp maker Joseph Obermayer when the latter, whose Munich factory had been bombed, re-established his workshop in Kufstein in 1944. In 1952, Obermayer moved back to his home town of Starnberg, and in 1955 he was joined by Horngacher, who eventually became his workshop manager. Obermayer died in July 1966, and Horngacher took over the business the following October, starting with harp no.349. Although he made some slight cosmetic changes to the design of the instrument, such as details of column carving, and added new instruments to the range, the harps from the Starnberg workshop continued to be known for the quality of their craftsmanship, the accuracy of their mechanism and the brilliance of their sound. He retained the bell-metal supporting ribs to which the harp's unique quality of sound may be attributable, and continues, on demand, to make harps with the eighth damping pedal developed at the request of Nicanor Zabaleta.
Played by some of the world's best-known soloists, the Horngacher is probably the most highly esteemed harp in European orchestras. The seven current models are still made almost entirely by hand, the construction of each instrument taking some 700 hours' work, and production is limited to approximately 15 instruments a year. Maximilian Horngacher's son, Klaus (b Söcking, nr Starnberg, 25 Sept 1956) joined his father as Director of the firm in 1992.
C. Topp: ‘Josef Obermayer – Max Horngacher – Klaus Horngacher’, Harpa, iii/3, (1991), 32–3