Last month, classical-music lovers in Hong Kong were treated to a special concert showcasing an essential, but often overlooked, instrument of the orchestra - the horn (also called the French horn). Under the baton of Chief Conductor Vahan Mardirossian, the Horn Showcase from City Chamber Orchestra of Hong Kong (CCOHK) displayed the brass instrument's surprisingly vast range (up to four and a half octaves), with local, up-and-coming hornist Harry Chiu as the featured soloist.

"The French horn doesn't usually get many opportunities to be featured as a solo instrument," says Chiu. "I tried to choose pieces to show as much color and technique as possible."

The first composition, Mozart's Concerto for Horn No 3, transported audiences to an 18th century Austrian court. The horn's regal sounds blended perfectly with the clarinets, bassoons and strings, while its rich timbre was clearly heard and felt during the horn solo.

Villanelle for Horn and Orchestra by French composer Paul Dukas was the second piece and contrasted strongly with the Mozart. A modern work composed in 1906, it was conceived as an exam for hornists of the Paris Conservatory. The piece challenges the player to use different right-hand techniques and timing to produce long notes over a wide range. Chiu met these challenges seemingly with ease, displaying his mastery of the instrument as he led the orchestra.

Starting young

Chiu was introduced to the horn in primary school, when the instrument was chosen for him by his music teacher. He isn't sure what prompted his teacher's decision, but once he heard the horn being played, he was hooked.

"The horn has a very warm and beautiful sound, which I believe is important to making beautiful music. It also looks pretty cool," the 25-year-old hornist says. After leaving school, Chiu went on to earn two Master of Music degrees, from the Hanns Eisler School of Music Berlin, and New York City's Juilliard School.

When it comes to local interest in the horn, Hong Kong can't be compared with cities in Europe, with their centuries of classical-music history. But there are more horn players here than you might think.

"It's a very popular instrument to have in school bands and orchestras," says Joe Kirtley, a founding member of CCOHK and the orchestra's principal horn. He also happens to be Chiu's teacher, going all the way back to when the young musician was just 8. "There's definitely a healthy and talented pool of hornists in the city."

Kirtley, who's been playing the horn in Hong Kong since 1979, says there is a thriving ecosystem for local horn players, with many primary school music programs introducing the instrument to youngsters. There are various musical ensembles for players at secondary school, and then there are music schools such as the Hong Kong Academy for Performing Arts (HKAPA) for those who want to continue their music education. In addition, a number of amateur bands as well as semiprofessional and professional orchestras offer local hornists opportunities to perform.

There are many ways to listen to the horn as well. Besides world-class concerts from the Hong Kong Philharmonic Orchestra and the Hong Kong Sinfonietta, aficionados can find free lunchtime programs in various locations around the city. CCOHK holds regular performances featuring young local musicians, including its annual Christmas concerts, which showcase every instrument in the orchestra.

Chances are, most people have heard the horn, even if they never attended a classical music concert. It's a staple in movie soundtracks, including the Star Wars and Harry Potter films, and features in various jazz recordings as well as pop music by bands including the Beatles (For No One features a catchy horn solo).

Chiu says people may not know they're listening to the horn because it can sometimes be mistaken for the trombone or cello. Kirtley adds that if the horn is removed from the lineup, it's immediately apparent that something important is missing.

"I often tell people that the horn in the orchestra is like a really good mayonnaise in a sandwich," he says. "If you don't have good mayonnaise, the sandwich will be pretty dry."

Tricky instrument

Despite having so much to recommend it, the horn remains less popular among music students than the piano, violin, or fellow brass instruments like the trumpet. Its reputation as one of the hardest instruments to play and master could be a reason.

"Every instrument has its own difficulties, but what makes the horn different and difficult is that you need to keep a steady flow of air through anything from 12 to 32 feet (3.7 to 9.8 meters) of tubing," notes Chiu.

"You also need the right embouchure (lipping) and valve combinations to play the notes. And if the piece requires different pitches, you have to decide how much of the bell to cover with your right hand, while using your left to press and control the valves. There's quite a bit going on."

Kirtley, who's been playing the horn for over 65 years, has a slightly different take.

"I don't believe the horn is the most difficult (instrument) to play, but it is the easiest to make mistakes on. If you play the trombone or trumpet, the notes are far apart. On the horn, the notes are quite close together, so it's very easy to miss the target if you're not careful or don't have the right technique."

The instrument most hornists use today is actually one that has been modified to make it easier to play. The original horn, known as the natural horn, is similar to a hunting horn and has no valves. Playing chromatic notes with such a horn requires the use of right-hand techniques in the bell. The valves on the modern horn have made these notes easier to play, while producing a more-refined sound compared with the more "wild" sound of the natural horn, according to Chiu.

Both Chiu and Kirtley have noticed a recent uptick in students taking up the horn in Hong Kong. The elder hornist shares that today's players have been exposed to a much wider range of horn playing, thanks to the internet.

"They've capitalized on technology, with all the information and recordings available at their fingertips," Kirtley says. "They're really amazing."

In addition, many band and orchestra directors in Hong Kong today have received a top-class music education from local and overseas institutions, and are contributing everything they've learned to lead and nurture the next generation of horn players.

"When I was teaching at the HKAPA, I would steer all my students toward concert performances like those from CCOHK. Now a lot of those kids are playing in those concerts," says Kirtley. "The future of horn playing in Hong Kong looks good to me."