Friedrich Deisenroth (b. 1903) was a musician who served in the German army beginning in 1924. He subsequently studied at the State Academic College of Music in Berlin-Charlottenburg, from which he graduated with distinction. He returned to the army in 1936 where first he managed the music corps of Infantry Regiment 57 and later was appointed chief music master. He served the army through the second world war, during which he was taken prisoner until 1945. As a civilian following the war he was active in youth music education. After 1955 he was recalled to military service in the newly-formed West German Bundeswehr. He was integral to the training of military musicians and made significant contributions to the creation of new music literature for the armed forces. After retiring from the Bundeswehr in 1965, he remained active is music society and served both as a member of the Presidium of the German Folk Musicians Association and on the board of the International Society for the Research and Promotion of Brass Music. Although not the major portion of his compositional or arranging output, Deisenroth edited and published a number of collections of music for parforce horn and Fürst-Pless horn, among which is the volume Jagdmusik fur Grosses (Parforce) Jagdhorn oder Waldhorn (publication date unclear), in which this Marquis de Dampièrre Suite appears. He died in 1997.
(Source: https://de.wikipedia.org/wiki/Friedrich_Deisenroth)

The Marquis Marc-Antoine de Dampierre (1676-1756) is credited as a key figure in the evolution of horn playing from a purely signaling instrument in hunting to a music-making instrument as well. He served the court of the Duke & Duchess of Maine from 1698 to 1722 when he was appointed the master of the hunt in the court of Louis XV. Coiled and hooped horns had existed in various shapes and sizes in the decades leading up to Dampierre’s flourishing, but under his influence the first large hooped horn, with a diameter of over three feet, is now accepted as the direct ancestor of the modern parforce horn, and indeed ultimately of the modern orchestral horn. Dampierre was not only a skilled player of the horn but also a composer and wrote numerous pieces, not only for hunting horns but
other instruments as well.

Deisenroth’s Marquis de Dampièrre Suite is an homage to this pivotal figure in the history of the horn. The four movements bear the following titles:

I. An der Loire – The Loire is the longest river in France. It originates south and west of Grenoble and flows generally northward to Orleans, where it bends west and passes through Tours and Nantes before reaching the Atlantic Ocean. A specific connection between the historical Dampierre and the Loire River is not immediately obvious.

II. Im Wald von Fontainebleau – The forest of Fontainebleau is today a 97 square-mile forest preserve located some 30 miles southeast of the outskirts of Paris, or about 40 miles from the palace of Versailles. King Louis VI began construction of a castle there in 1137; this castle was rebuilt beginning in 1527 by François I expressly as a base for hunting. As a royal domain until the revolutions of 1789, it can well be imagined that during his service under Louis XV Dampierre would have participated in hunts and associated musical revelry here. This movement by Deisenroth is expressly based on the ancient French hunting call La Quête, tons que l’on sonne pour faire quêter les chiens, or “The Quest, tones sounded to summon the dogs.” (This call and many others are found in the book Almanach du Chasseur by Charles Jean Goury de Champgrand, a manual on all things related to the hunt, published in 1773. The book consists of roughly 100 pages of discussion and instruction, another 100 pages of terms and definitions, and 30 pages of musical notation of hunting
horn signals and calls.) Deisenroth cleverly interpolates a second, more famous tune from another era as a nod to the joy that must have been felt by the hunters and hounds (though not by their quarry). The movement concludes with three cheers of “Ta-jo!”

III. Im Schloss von Blois – The Royal Château of Blois is a structure in the city center of Blois, Loir-et-Cher, in the Loire Valley, and stands just a tenth of a mile from the banks of the Loire River. It has existed since at least 854 and has received numerous additions and reconstructions through the intervening centuries. It is today a public attraction and houses the Musée des Beaux-Arts de Blois (Museum of Fine Arts of Blois). This movement is based on another ancient French hunting signal, the Retraite fanfarée, played when the hunt’s quarry has been subdued and the hunt is concluded (Heimkehr nach guter Jagd as it appears in German in Deisenroth’s score, or “Return home after a good hunt”). The signal is heard first, then a classical minuet, and then the signal is sounded again to conclude.

IV. In den Ardennen – The Ardennes is a roughly-terrained and forested region that extends through contemporary Belgium, Luxembourg, France, and Germany. It has been prominent in military excursions from at least the ninth century to World War II. Again, any direct connection to Dampierre is elusive, but the abundance of wild game makes it a popular hunting environment to this day.

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