The showroom at master instrument maker Zoltán Juhász’s workshop was completed in 2012. The aim was for musicians to have an aesthetically and acoustically worthy setting to try out the instruments. With its small podium and central area, which can be filled with seats quickly when needed, it is capable of hosting small-scale concerts. The building is an excellent venue for master classes, with separate rooms for more personalised music teaching.
I can highly recommend the baroque horn by Zoltán Juhász. The tone is exactly right for the period – simultaneously bright and well rounded. After purchasing one to use for
orchestral work, I have found that it also meets the demands of the solo repertoire. A wonderful aspect of these horns is that they are essentially customised for each player:
I had two tuning slides made, to accommodate playing with the hand in the bell or for when using vent-holes; the precise position and number of holes was my decision; there were a
number of different crooks to choose from in each key. This horn is an excellent option for anybody interested in playing the baroque horn.
- Alec Frank-Gemmill Principal horn of the Scottish Chamber Orchestra
I have been using my natural horn made by Zoltán Juhász for years. In my opinion, this instrument is at once both traditional and modern. It preserves the classical natural horn
sounds, while also remaining as dependable as a valve horn. Since Zoltán designed it to be similar to modern instruments in terms of touch, I can use them interchangeably in concert
without any issues. These days, I cannot imagine playing Haydn or Mozart’s compositions with anything else.
- Győrfi Peter Principle Horn Player of the Kodály Philharmonic, teacher at the Zoltán Kodály College of Music in Debrecen, Hungary.
I have played many performances of G. F. Händel's Giulio Cesare (Video-Youtube) and Bach's Brandenburg Concerto No. 1 with Il Giardino Armonico and other world-famous baroque ensembles using Juhász’s baroque horn.
This instrument provides great stability as well as the possibility to produce many different tones. It is a perfect tool for telling musical stories.
- Johannes Hinterholzer Professor at Munich University for Music and Drama
Zoltán Juhász’s baroque horn is a true pleasure to play, in both high and low registers. It meets the greatest technical challenges of the baroque horn repertoire.
The sound is of the highest quality throughout the entire register. Precision is one of the strengths of the instrument, with the additional bonus of being able to play at modern pitches
if required. Each of the crooks is a masterwork in both intonation and quality of sound. It meets the demands of today’s performance world, while maintaining an authentic sound on such a
delightful instrument. Compliments to Zoltán and his workshop.
- Mályusz Gergely Principal and 3rd horn player of the Australian Opera and Ballet Orchestra in Sydney
Zoltán Juhasz's baroque horn easily allows musicians to pursue their historical endeavours with pleasure and precision, and in a way that meets the musical standards of our own time.
- Boštjan Lipovšek Professor at the Academy of Music in Ljubljana, Slovenia and at the Academy of Music in Zagreb, Croatia; principal horn of the Slovenian Radio and Television Symphony Orchestra.
I am very happy to have discovered Zoltán Juhász’s baroque horns and especially his natural horns. When you need to quickly change between valved and natural horns, the playability of these instruments and their balanced sound are so satisfying that the musician has no need to focus his attention on the practical difficulty of switching instruments. These instruments have such a beautiful sound that you simply don't want to put them down! --(Video1; Video2; Video3;
Video4-Youtube)
These natural horns may even sound too beautiful for a purely baroque orchestra where a rustic and authentic performance is desired for certain works and the sound necessary for the piece demands early instruments manufactured at the time the music was composed.
I can only recommended these instruments, especially for an orchestra consisting of authentic and contemporary instruments that performs classical and pre-classical works. For these occasions, I’ve yet to find a more suitable instrument.
--Thank you, Zoltán!
- Samuel Seidenberg Solo horn player, Frankfurt Radio Symphony Orchestra and Professor at the Mannheim University of Music and Performing Arts
Haydn Symphony No. 12 ∙ Giovanni Antonini ∙ Il Giardino Armonico
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D. Cimarosa: Il Maestro di Cappella ∙ Antonini ∙ Novaro ∙ Il Giardino Armonico
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Händel - Giulio Cesare in Egitto ∙ Giovanni Antonini Il Giardino Armonico
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Beethoven: Symphony no.3 Eroica ∙ Philippe Herreweghe
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Beethoven: Symphony no.3 in E flat major ∙ Christian Thielemann
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Beethoven: Sinfonie no.3 Eroica ∙ hr-Sinfonieorchester Andrés Orozco-Estrada
- video