Meet Anthony Devriendt and Katrien Vintioen

What is your musical background, and why did you choose the horn?

Katrien Vintioen: I come from a musical family. My father played various brass instruments, so the horn was a logical choice. In fact, my first lessons were from my father. At the Lemmens Institute, I studied with Jeffrey Powers (who was back then principal horn at the Antwerp Symphony Orchestra). I have been playing with the Belgian National Orchestra since 1995 and I often have had the opportunity to perform in major works, such as those by Mahler and Bruckner.

Anthony Devriendt: My family wasn't musical, but I grew up in a small village with a brass band. That's where I first heard the horn and immediately fell in love with it. I also tried the piano for a while, but no, it had to be the horn! I studied at the Brussels Conservatory, and my first orchestral experience came through temporary contracts at the Opéra Royal de Wallonie. I joined here in 2008, first as a substitute and later permanently. Three years ago, I became principal horn.

Horns play an important role in the first part of this season. The program includes a lot of music by Mahler and Strauss, as well as Britten's Serenade for Tenor, Horn, and Strings on 29 September.

Anthony Devriendt: Along with a few other compositions that Britten wrote for the same ensemble, the Serenade for Tenor, Horn, and Strings marks the horn's breakthrough as a solo instrument in British music. This had already happened in Germany with Strauss's concertos, and in France with works like Saint-Saëns's Morceau de Concert. Something very special about Britten's composition is that the prologue and epilogue (which frame the six songs) are played on a natural horn without valves. This means the hornist plays the natural harmonics of the instrument, which can sound slightly 'off,' and it gives the prologue and epilogue a very rustic character. However, it can sometimes cause confusion: when one of my teachers once performed the Serenade, the newspaper criticized the horn the next day for playing out of tune. It turned out the journalist wasn't very well informed (laughs).

Do you know Félix Dervaux, the hornist who will perform the horn solo on 29 September?

Anthony Devriendt: Absolutely! He is from northern France and was, at a young age, the principal hornist of the Royal Concertgebouw Orchestra. Today, he has a solo career and is frequently invited to prestigious orchestras such as the Berlin Philharmonic and the London Symphony Orchestra. Additionally, tenor Ian Bostridge will also be on stage, the ultimate reference for Britten's Serenade. The very best recording of this work ever made features him as the tenor. His voice is perfect for this type of repertoire, and it is phenomenal that we were able to engage him for this.

Which concerts of the 2024-25 season are you most looking forward to?

Katrien Vintioen: I am really looking forward to Mahler's Fourth Symphony on 6 December because that work is the pinnacle of musicality for me. The first horn part in particular is difficult. A few years ago (with Walter Weller), we were able to perform this symphony about four times. This was also during Anthony's trial period... Beautiful memories!

Anthony Devriendt: My personal highlights are Strauss's Ein Heldenleben (13/09) and Mahler's Seventh Symphony (18/10). The former is part of the standard repertoire, but Mahler's Seventh is rarely performed. It will be my first time, and I'm incredibly excited about it. Also, Pini di Roma and Fontane di Roma by Respighi (4/10) will be particularly interesting. Respighi is not the most well-known composer, but he wrote really good music. A joy for us to play!

There are many different types of horns. Can you tell us something about the history of your instrument?

Anthony Devriendt: It began thousands of years ago when people blew into cow horns, for example, to send signals. This was used for military purposes or by shepherds to call in their cattle. From this, the hunting horn developed, on which you can play a series of natural tones: a fundamental tone and its overtones. The next step was the baroque horn. By using different tubes that you insert into your instrument, you can play not just one but several series of natural tones. During the classical period, the natural horn was used. This also works with different tubes and can therefore play in different keys. Additionally, you place your hand inside the horn, manipulating the tone colour and intonation. This is the horn that was used during the time of Mozart, Haydn and Beethoven. Around 1815, the valve horn was invented, sometimes with two, sometimes with three valves. The valves allow for smooth transitions between different tubes. The modern double horn we know today is an invention from around 1900.

Katrien Vintioen: The orchestras for which Beethoven wrote his symphonies show a gradual evolution, but the Third Symphony was suddenly written for three horns. The Ninth Symphony was written for four horns, and even the fourth horn has a very important solo part.

Anthony Devriendt: Having one tube per key means that you can modulate, but not quickly. Because on a natural horn, you always have to change the tube. If you want to modulate quickly, you need two pairs of horn players. And that's how you end up with four horns...

And what about the Wagner tuba? Is it a tuba or more of a horn?

Anthony Devriendt: Wagner tubas are played by horn players but are somewhere between a horn and a trombone in terms of tone colour. You can't put your hand in the bell, so in terms of tone production, a Wagner tuba is a completely different instrument from a horn. It's more like a cousin than a brother!

How would you describe each other?

Anthony Devriendt: To me, Katrien is the reliable right hand who is always there when you need to do difficult things. My calm right hand who, if I ever forget to count, tells me where to play. In Top Gun jargon, she's my 'wingman.'

Katrien Vintioen: Anthony is a true first horn, with a communicative and connecting approach. He understands that his role is an essential part of the whole horn section, as well as the larger entity: the orchestra. His approach is clear, strong, and convincing, which allows me to fulfill my supporting role as second horn with confidence and comfort.