Trumpet in Transition

!I Trumpet in Transition: A History of the Trumpet and its Players in the United Kingdom through the Music and Relationships of Sir Edward Elgar Paul Leonard Nevins A thesis submitted in partial fulfilment of the requirements of Birmingham City University for the degree of Doctor of Philosophy March 2017 The Faculty of Arts, Design and Media, Birmingham City University (Birmingham Conservatoire) !II Contents Abstract X Acknowledgements XII Volume 1 Introduction to the project 1 Methodologies 5 Structure of the thesis 7 The context to the study Chapter One - Musical life in the United Kingdom during the Nineteenth Century 11 Amateur music making 11 The growth of military music 15 The establishment of public concerts in the nineteenth century 17 The trumpets and cornets in general use during the later half of the nineteenth century 22 The leading trumpeters in the United Kingdom during Elgar’s career 31 Conclusions 36 Chapter Two - The Hallé Orchestra during the career of Elgar 38 The formation and rapid establishment of the Hallé Orchestra 38 Hallé Orchestra Season 1884/85 40 Works with demanding trumpet parts played by the Hallé Orchestra during Elgar’s career 51 !III Hallé Orchestra Trumpet/Cornet section 1884-1934 55 Conclusions 58 The analysis of works by Elgar and his contemporaries Chapter Three - Elgar’s trumpet writing in compositions up to and including 1896 60 Elgar’s early career 60 Elgar’s compositions 1888-1894 62 Elgar’s compositions of 1896 - a momentous year 65 Conclusions 75 Chapter Four - Elgar’s compositions from 1897 78 Elgar’s compositions from 1897 to 1900 79 The works scored for both trumpets and cornets 84 The final oratorios - The Apostles and The Kingdom 89 The symphonic works 93 The concertos for violin and for cello, and orchestral song cycles 96 Theatre music 97 Conclusions 100 Chapter Five - Compositions by a selection of composers from the United Kingdom who were contemporary with Elgar 103 The trumpet writing in compositions before 1890 104 The trumpet writing in works by Holst and Delius 108 The trumpet writing in works by two other younger contemporaries of Elgar 114 !IV Conclusions 118 Playing styles and performance practice during Elgar’s career. Chapter Six - Brass playing styles in Elgar’s time 120 Playing styles described in secondary sources 120 Playing styles described and inferred from primary sources 124 Brass playing styles identified in literature concerning early recordings 137 The analysis of a selection of early recordings 139 Conclusions 147 Chapter Seven - Performances using instruments from the early twentieth century 149 Preparations for the recordings 154 Performing and recording using three historic instruments 163 Comparisons between the instruments: are the statements of Harper Jnr. and Morrow corroborated? 176 Conclusions 179 Conclusions to the project and areas for further research 181 Areas for further research 186 !V List of Tables Table 2.1 Composers whose music was performed by the Hallé Orchestra 1884/85 47 Table 2.2 The Trumpet/Cornet section of the Hallé Orchestra in chronological order 55 Bibliography 189 Scores Studied 205 Selected Discography 208 Web sites quoted 211 !VI Volume 2 Appendices 213 1 The Harmonic Series 214 2 Notes Capable of Being Played on the Slide Trumpet from Harper Jnr. tutor-book 215 3 Keyed Bugle Fingering Chart from Harper Snr. tutor-book 216 4 Trumpeters listed in the programmes of first performances of Elgar’s works 217 5 Trumpeters and cornettists in Worcestershire and Midlands orchestras 218 6 Selected list of trumpeters and cornettists working in the United Kingdom 221 7 Helmholtz system of pitch notation 222 8 Musical examples for Chapter Three 223 9 Selected Concert Programmes discussed in Chapter Three 227 10 Letter from August Manns to Elgar 230 11 Two letters from Walter Morrow to Elgar 232 12 Musical Examples for Chapter Four 236 13 Selected Concert Programmes discussed in Chapter Four 239 14 Musical Examples for Chapter Five 241 15 British Imperial to Metric Conversion Chart 244 16 Photographs of Historic Instruments used 245 17 Scores of the Music Performed and discussed in Chapter Seven 248 18 Extracts from an interview with Arthur Butterworth 288 !VII CD Track listing Track 1 – Serenade by Gounod performed by Sergeant Leggett on the cornet (1911). Track 2 – Cleopatra by Damaré performed by Edwin Firth on the cornet (1914). Track 3 – “Hallelujah” chorus from Messiah by Handel performed by the Royal Choral Society and the Royal Albert Hall Orchestra conducted by Malcolm Sargent (1926). Track 4 – extract from the fourth movement of Symphony in E flat (Symphony No.2) by Elgar performed by the London Symphony Orchestra conducted by Elgar (1927). Track 5 – extract from the first movement of Symphony in E flat (Symphony No.2) by Elgar performed by the London Symphony Orchestra conducted by Elgar (1927). Track 6 – extract from the second movement of Symphony in E flat (Symphony No.2) by Elgar performed by the London Symphony Orchestra conducted by Elgar (1927). Track 7 – 2nd extract from the first movement of Symphony in E flat (Symphony No.2) by Elgar performed by the London Symphony Orchestra conducted by Elgar (1927). Track 8 – extract 1 from Cockaigne by Elgar performed by the BBC Symphony Orchestra conducted by Elgar (1933). Track 9 – extract 1 from Cockaigne by Elgar performed by the Royal Albert Hall Orchestra conducted by Elgar (1926). Track 10 – extract 2 from Cockaigne by Elgar performed by the BBC Symphony Orchestra conducted by Elgar (1933). Track 11 – extract 2 from Cockaigne by Elgar performed by the Royal Albert Hall Orchestra conducted by Elgar (1926). Track 12 – Ex.17.1: exercise No.1, page 1 from Julius Kosleck’s School For The Trumpet adapted by Walter Morrow performed on the F trumpet. Track 13 – Ex.17.2: exercise No.2, page 7 from Julius Kosleck’s School For The Trumpet adapted by Walter Morrow performed on the F trumpet. !VIII Track 14 – Ex.17.3: exercise No.7, page 10 from Julius Kosleck’s School For The Trumpet adapted by Walter Morrow performed on the F trumpet. Track 15 – Ex.17.4: exercise 14, page 14 from Julius Kosleck’s School For The Trumpet adapted by Walter Morrow performed on the F trumpet and multi-track recorded. Track 16 – Ex.17.5: excerpt from The Light of Life No.1 after rehearsal letter D performed on the F trumpet and multi-track recorded. Track 17 – Ex.17.6: excerpt from The Light of Life No.1 after rehearsal letter H performed on the F trumpet with slurs and multi-track recorded. Track 18 – Ex.17.6: excerpt from The Light of Life No.1 after rehearsal letter D performed on the F trumpet with no slurs and multi-track recorded. Track 19 – Ex.17.7: excerpt from The Light of Life No.6 from the beginning performed on the F trumpet and multi-track recorded. Track 20 – Ex.17.8: excerpt from the end of The Light of Life No.1 performed on the F trumpet and multi-track recorded. Track 21 – Ex.17.9: excerpt from The Dream of Gerontius before rehearsal figure 55 performed on the F trumpet and multi-track recorded. Track 22 – Ex.17.10: excerpt from Enigma Variations at rehearsal figure 14 performed on the F trumpet and multi-track recorded. Track 23 – Ex.17.11: excerpt from Legend by Morgan performed on the F trumpet. Track 24 – Ex.17.12: exercise No. 27 page 16 from Otto Langey’s Practical Tutor for the Cornet or Trumpet Revised and Enlarged by Ernest Hall performed on the B flat trumpet. Track 25 – Ex.17.13: excerpt from the second movement of Symphony in E flat (Symphony No.2) at rehearsal figure 67 performed on the B flat trumpet. Track 26 – Ex.17.14: exercise No. 12 page 11 from Otto Langey’s Practical Tutor for the Cornet or Trumpet Revised and Enlarged by Ernest Hall performed on the B flat trumpet. !IX Track 27 – Ex.17.15: exercise No. 13 page 12 from Otto Langey’s Practical Tutor for the Cornet or Trumpet Revised and Enlarged by Ernest Hall performed on the B-flat trumpet. Track 28 – Ex.17.16: exercise No. 14 page 12 from Otto Langey’s Practical Tutor for the Cornet or Trumpet Revised and Enlarged by Ernest Hall performed on the B-flat trumpet. Track 29 – Ex.17.17: exercise No. 20 page 14 from Otto Langey’s Practical Tutor for the Cornet or Trumpet Revised and Enlarged by Ernest Hall performed on the-B flat trumpet. Track 30 – Ex.17.18: excerpt from Falstaff before rehearsal figure 126 performed on the B- flat trumpet and multi-tracked recorded. Track 31 – Ex.17.19: exercise No. 34, page 21 from Otto Langey’s Practical Tutor for the Cornet or Trumpet Revised and Enlarged by Ernest Hall performed on the B-flat trumpet. Track 32 – Ex.17.20: exercise No. 20, page 14 from Otto Langey’s Practical Tutor for the Cornet or Trumpet Revised and Enlarged by Ernest Hall performed on the cornet. Track 33 – Ex.17.21: excerpt from Froissart before rehearsal letter N performed on the cornet and multi-track recorded. Track 34 – Ex.17.22: excerpt from Cockaigne from rehearsal figure 36 performed on the F trumpet and the cornet multi-track recorded. Track 35 – Ex.17.23: excerpt from Legend by Morgan of the lyrical opening played on the cornet. !X ABSTRACT The life and career of Sir Edward Elgar (1857-1934) coincided with a period of significant change in the development of the trumpet and the music scored for it.

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