Valkenier, a distinguished French hornist, was born in 1887 in Rotterdam, The Netherlands, and passed away in 1986. He served as the principal horn with the Boston Symphony Orchestra from 1923 to 1950, initially as co-principal from 1923 to 1937 and subsequently as principal from 1937 to 1950.
Regarded as one of the "founding fathers" of horn-playing in the United States, Valkenier's roots in the European (Czech and German) tradition significantly shaped his teaching and influence on countless players. His early musical education included piano lessons, followed by horn instruction from a military clarinetist. At the age of 14, he began studying with Edward Preus, a natural horn player from Bohemia who had previously played first horn with a German opera company in Rotterdam. Preus, known for his rigorous teaching style and emphasis on the Czech cantabile tradition, became a pivotal figure in Valkenier's development. After two years under Preus, he joined a vaudeville theater orchestra and played in a Civil Guard symphonic band during the summer, continuing his musical growth.
Valkenier's professional career began as third horn in a symphony orchestra in Groningen, followed by a stint as first horn in Haarlem. Seeking better opportunities, he accepted a position as first horn with the Collegium Musicum in Winterthur, Switzerland. After a year, he won a first horn position in Breslau (now part of Poland), where he gained substantial experience in opera.
In 1914, he auditioned for a summer engagement in Bad Kissingen, Germany, with the Konzertverein Orchestra from Vienna. Following a successful performance of the Aria from Bach's B Minor Mass, he was offered a permanent position, and the orchestra bought out his contract from Breslau. During his time in Vienna, Valkenier played extensively, including works by Mahler, who had passed away the previous year. However, the impact of World War I on Vienna's orchestras prompted Valkenier to pursue a first horn role with the Staatskapelle Berlin, where he played for nine years under notable conductors such as Wilhelm Furtwängler and Richard Strauss.
In 1923, concerned about the political climate in Germany post-Treaty of Versailles, Valkenier, who was a pacifist and still held Dutch citizenship, contemplated relocating to Barcelona but ultimately chose to move to America. After speaking with conductors in New York and Chicago, both of whom had six-month union waiting periods, he accepted a position in Boston, which was a non-union orchestra until 1942, starting as first horn in the second horn section.
Throughout his tenure with the Boston Symphony Orchestra, which lasted until 1950, Valkenier first played under Pierre Monteux, followed by Serge Koussevitsky for 25 years. Around 1950, he began experiencing dental issues, which influenced his decision to retire from performing. Although he had reservations about playing under Koussevitsky, he remained long enough to perform a season under Charles Munch. In Boston, Valkenier found joy in chamber music, participating in both formal engagements and informal sessions with colleagues from the BSO and visiting artists such as Arthur Schnabel, Arnold Schoenberg, and Paul Hindemith. His versatility extended to playing viola and cello parts on the horn.
In addition to his performance career, Valkenier was dedicated to teaching at the New England Conservatory of Music during his time with the BSO and continued mentoring students on Cape Cod in his retirement. Known for his high standards and insistence on precise playing, he was also nurturing and supportive, taking a paternal interest in his students. Valkenier began his career with a hand horn, later using a Slot single horn, followed by a Kruspe double horn and a Schmidt double horn. He eventually utilized a Kruspe single B-flat horn for operatic performances and a Schmidt single high F horn for high Bach cantatas.
