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HISTORIC BRASS SOCIETY NEWSLETTER News, Views, Notes and Comments for Members and Friends of the Historic Brass Society Issue Number 10 ISSN - 1045-4594 Summer, 1997 I HBS Publications: Stewart Carter, Journal Executive Editor; Karen Snowberg, Newsletter Executive Editor; Jeffrey Nussbaum, Managing Editor; Barry Bauguess, Journal Production; Martha Bixler, Anne Bonn, Sandra Coffin, Peter Ecklund, Jeremy Montagu, Steven Plank, Richard Seraphinoff, Jeffrey Snedeker, Howard Weiner and Chris Whitehead, Associate Editors. Historic Brass Society: Executive Committee: Jeffrey Nussbaum, President; Jeffrey Snedeker, Treasurer; Karen Snowberg, Secretary; Thomas Huener, Membership Secretary, Tom Re~cher,Counsel. Board of Directors: Stephen C. Anderson, Barry Bauguess, Stewart Carter, Trevor Herbert, Jeffrey Nussbaum, Keith Polk, Jeffrey Snedeker, Karen Snowberg. Board ojAdvisors: Michael Collver, Allan Dean, Bruce Dickey, Ralph T. Dudgeon, Stephen Escher, Douglas Hedwig, Fred Holmgren, Douglas Kirk, Craig Kridel, William G. Mathews, Roth, Richard Seraphinoff, Crispian Steele-Perkins, Robert Stibler, Franz Streitwieser and Edward H. Tarr. 6 Copyright 1997. The Historic Brass Society Newsletter is published annually by The Historic Brass Society, Inc. CONTENTS Page HBS Financial Report ...... 2 A Unique Approach to the Modem and Old: A Discussion with Brass Players of The Chamber of Europe By Douglas Hedwig and Jeffrey Nussbaum ...... 3 A Report on Natural Makers World-Wide, by Richard Seraphinoff ...... 9 A Brief History of the Finnish , by Paul Niemisto ...... 13 Message from a Cornettist at St. Mark's, dated 16 14, by Bruce Dickey ...... 16 Letters to the Editor ...... 17 Recording Reviews ...... 19 Book Reviews ...... 34 Music Edition Reviews ...... 37 News of the Field ...... 40 Thirteenth Annual Early Brass Festival ...... 47 Historical Colloquium ...... 48 HBS Membership Directory ...... 57

PRESIDENT'S MESSAGE

Greetings to all old members and welcome 'to those new to the HBS. There are a number of exciting projects lined up this year that I'm thrilled to mention. For the first time the Early Brass Festival will not be at Amherst but will be at the campus of the Indiana University School of Music in Bloomington, IN. We hope to continue to have Amherst as our home base but thought that it would be a healthy step to present the EBF at different locations from time to time. This year the EBF # 13 and the Historic Brass Society will be the subject of a film series on the early music movement and will be filmed by the BBC. I look forward to seeing many of you there and since we are going to be filmed, please remember to wear your snazziest T-shirts and sandals! !

Now that we have firmly established an important forum with the HBS Journal, HBS Newsletter and our new book series, BUCINA, (the second in the series, the Proceedings of the 1995 HBS Symposium is due soon), we are working hard to span bridges to other areas in the music world. Some of those groups have, unfortunately, been quite unaware of the great work being done in the brass field. Having presented several successful events in cooperation with the American Musicological Society and Galpin Society, the HBS will present a special Early Brass Study Session at the upcoming International Musicological Society 16th Annual Congress (Aug. 19th) in London. We took advantage of this rare opportunity to also present a day-long Colloquium on the day before the IMS starts (Aug. 13th). Both events will have the participation of many leading scholars and performers and look to be quite important. The HBS will also participate in a forum sponsored by EMA at the Boston Early Music Festival.

The HBS is a not-for-profit organization and contributions are tax-deductible, very much needed, and very much appreciated. Your support is, of course, needed for us to continue the good work we have done to date. Please consider sending in a contribution along with your annual membership dues. The new-comers might not realize, but the HBS is a great labor of love for many who work long and hard for free. My thanks, as always, to the members of the Board of Directors, Editorial Board, and Board of Advisors. Jeffrey Nussbaum President, Historic Brass Society

The Historic Brass Society - 148 W. 23rd Street, #2A - New York, NY 10011, USA - TelIFax (212) 627-3820 E-Mail: [email protected] WWW site: http://www.classical.net/music/guide/society/hbs/ FINANCIAL REPORT: HISTORIC BRASS SOCIETY, INC. FISCAL YEAR, January 1,1996 -- December 31,1996

Cash on-hand, January 1, 1996

FINANCIAL TRANSACTIONS AnchorIDime Checking Account Barclay's Account (plus cash transactions) OPENING BALANCES $3194.94 E 1088.48

REVENUES (Earned) Membership Dues, Library Subscriptions Advertising income Sales of Back Issues Rental of database Account interest

REVENUES (Unearned) Contributions TOTAL REVENUES

OPERATING EXPENSES Journal and Newsletter costs Postagelmailing Office Supplies (including photocopying) Misc. clerical, legal, advertising, bank Advertising Expenses for Early Brass Festival Telephone TOTAL OPERATING EXPENSES

NET FISCAL (L0SS)lGAIN

CLOSING BALANCES, December 3 1, 1996

Cash on-hand, December 3 1, 1996 $ -0-

Cumulative Financial Status, December 3 1, 1996 $ 1517.60 +(£1488.3 1 @ $1.52475) $ 3786.90

Respectfully submitted, Jeffrey L. Snedeker, Treasurer

r------I I I New WBS Submission Deadline I Notice of Annual Meeting I 'I The annual meeting of the Historic Brass Society, Inc. will be ' A new submission schedule has been established for the HBS Journal and HBS Newsletter. I conducted at 4:00 PM, Saturday July 12, 1997, at The School ] I of Music, University of Indiana, ~loomin~ton,IN. Plans for I Article submissions for the HBS Journal must be submitted by I the direction of the HBS will be discussed. I February 1. Six copies of the article plus a floppy disc and all I work and illustrations must be sent. I art I I Submissions for the HBS Newsletter must be submitted by I March 1. L--,-,,-,------. I 1 I I HBS Newsletter, Issue 10, Page 2 I A Unique Approach to the Modern and Old: A Discussion with Brass Players of The Chamber Orchestra of Europe by Douglas Hedwig and JefJy Nussbaum

On November 22, 1996 the following William Brown. Richard is playing a of a performance, and that audience's discussion took place, after the dress Bach 36 medium- instrument, and musical experience is different from 150 rehearsal of Beethoven's Ninth Patrick just bought something in Times years ago. Obsession with details has Symphony, under the direction of Square. led, in my view, to a lot of bad music Nikolaus Harnoncourt, at Carnegie Hall, making being allowed to hide behind a NYC. We spoke with trombonists Simon Patrick Jackman: It's a 57 small- mantle of "correctness." Harnoncourt's Wills, Richard Cheetham, and Patrick bore bass with a single plug, approach seems to be that you can Jackman; and trumpeters Nick Thompson and I used that for the Beethoven Ninth. I reproduce the impact of a piece on an and Julian Poore, all members of the also use a King 3B. It's nice to be able to audience, but if you want to do that you Chamber Orchestra of Europe. have a different approach. On both the are going to have to accept that the Ninth and Fifth, the complaint is often details will be different in quite Jeffrey Nussbaum: I'm thrilled that that the trombone is too loud. Before you substantive ways from what was heard, Richard Cheetham suggested this even play a note, people complain that say, in 1819. He restores the narrative of meeting and was able to set it up. Your it's too loud! With these small-bore the music and strives for some of the rehearsal was fantastic and absolutely instruments you can get the edge and power it had to shock when it was new. striking in so many ways. A question that attack and don't have to worry about the We have a big brass tool kit but will comes immediately to my mind is, Why sheer power of volume. always try to see how far we can go with use this "hybrid" approach of a modem a modern instrument before moving on to orchestra with a few select period JN: When did Harnoncourt become something older. It's less a preoccupation instrument touches, such as natural involved with the COE? with historical particularities and more a , period , and old-style desire to use a full palette of colours. small-bore ? It seems all the Julian Poore: It was during our 1985186 more curious considering that Nikolaus season. We did Beethoven Five and Six NT: We have actually played shows Harnoncourt is such a giant in the early in . It was quite interesting. The using three types of trumpets; the modern music field and has done so much work , and certainly the trumpet, , and big F regarding that dreaded "A" word! section, at that time had no particular trumpet. We've also mixed rotary knowledge of period instruments and trumpets and natural trumpets or F Simon Wills: The COE is not, and never played the two concerts on modern Bach trumpets in the same piece. will be, a period instrument orchestra. trumpets. Harnoncourt had asked us to Harnoncourt has influenced our thinking play in the same sort of way that your Douglas Hedwig: Do you also mix on matters of informed performance heard us perform today. We did it on the different bore-size instruments? Is there a quite a lot, but the orchestra is an Bach trumpets and, of course, it was parallel with the use of the pea-shooter independent organization and remains obliteratingly loud. What he wants is the trombone? fundamentally" modern" in its outlook. "brassiness" of the sound and you cannot The word "chamber" is a bit of a get that on a modern instrument without NT: The problem of using a natural misnomer, since we play a great deal of getting too much volume. The next time trumpet in a modern orchestra is that you Romantic and later music--indeed I can't he came back, we tried some different don't hear yourself play and that causes think of another chamber orchestra with experiments including using darker problems such as overblowing and losing three trombones on the staff! Since our sounding rotary-valve trumpets, but after the focus of sound. I've actually gone repertoire is very wide and the orchestra that, when he were doing some Haydn smaller to get a brighter sound so I can relatively small, it was always a logical symphonies, we took the plunge with hear myself. Harnoncourt really wants step to use various sizes of small brass to natural trumpets. That was my first the percussive edge; he doesn't want achieve fine adjustments of color. For experience with the natural trumpet and volume. example, we have just recorded the it was really "in at the deep end." Sibelius Seventh Symphony, and for that DH: That clarifies it. He doesn't just we used a Conn 88H on bass and two SW: You mention a hybrid approach, mean the attack. small instruments, of the sort that which I understand, but it isn't quite players use, for the other parts. That right. It implies a historiological JP: It's the entire timbre as well as the gave us a good intense sound against a preoccupation that isn't there. It's true attack. He believes that the trumpets are small string body--which is, that we experiment with all sorts of part of the . It's a coincidentally, what the had in hardware, but as an orchestra we are not rhythm instrument, certainly for mind when he was writing the piece. in the least interested in historical Beethoven. Much of the time I'm the Harnoncourt has a particularly coloristic correctness for its own sake. I don't second timpani. imagination and he's asked us to go one believe it is possible to give an authentic stage further. I'm playing the alto parts in performance of Mozart to a pair of ears SW: I think the experience with the Beethoven symphonies on a 90 year that have heard Bartok and Stravinsky: trombones is different. Things old "pea-shooter" B-flat trombone by the audience is an important active part occasionally turn on their heads. Last

HBS Newsletter, Issue 10, Page 3 year we recorded the Schubcrt E- Oat and historical period, the cultural setting, the .IN: Wcll then, Patrick, isn't that exactly a A-tlat masses with I-larnoncourt. tIe is theoretical treatises and performance period "authentic" approach? He's trying cxtrcmely fussy about the trombone issues of the day with the result aimed at to recreate an aspect of the original inflecting the text accurately which. of creating a performance that as closely as performance. course, is one of the basic skills of the possible reflects the sound and spirit in period performer. Oddly, the sound he which the music was created. Another PI: But even in many period instrument liked best and which I felt was most view is to discount the authentic groups that I play with, you don't get that tlexible for this was a 30-year old Conn recreation attempt and simply use period idea brought out. I suspect that even with alto, which has quite a big sound. I had instruments to create a different but many early music groups, you are most recorded the same pieces a few months totally personal musical statement that concerned with the person who is earlier with the Orchestra of the Age of might not be possible on a modern standing in front of you. I think that Enlightenment on a proper classical alto, instrument. Harnoncourt has a far better knowledge but for that project they used a children's and approach and idea of what he choir and have a somewhat less elastic SW: That is a good encapsulation, but it actually wants than most anybody I've than COE, so, doesn't go far enough. The issue that ever worked with. paradoxically, I ended up giving a less period performers have to address now is textuall? sensitive performance on the that it is not enough to say "if we NT: Apart from the authenticity issue, "proper" instrument than on the modern reconstruct every historical particularity what I'm doing is playing a one. It all comes down to authenticity of what may have been heard in a certain trumpet in a modem instrument orchestra being in the mind, not the equipment. time and place, then we have an authentic but I'm playing it like a modem trumpet Our regular bass trombonist, Nicholas performance." You don't; you have a player. In this orchestra, I don't play Eastop, who couldn't come on this tour, fossil. Your audience can't change the natural trumpet in the same fashion that I has actually made his own tiny F bass 20th century musical experience that it would in the English Concert or the Age trombone, with a double slide. It has a brings to the concert. You have to be of Enlightenment or wherever you would fantastic sound, like a contrabass natural true to the composer's intentions and that turn up to do a job. You're actually trumpet and is exactly what we need for a means engaging in an imaginative playing this instrument in a loud, hard, lot of repertoire. Its physical constitution process that thinks more about what the forced way most of the time. It's not the has no historical basis at all, so far as I music is trying to do in terms of its fluid language that you would use in an know, but the sound is just right. That impact on the audience. Now, if original-instrument orchestra. He mixing sums up our approach nicely, though the hardware is allowed to loom too large in things up and it's just purely a tool to rest of us don't have the skills to go that a player's mind he becomes achieve a sound. far! Nick also works as a conservator of imaginatively passive and adopts a instruments at the music museum in fundamentalist cast of mind--"this is the DH: So, he uses this approach not for the Stockholm and could have been a big one true way, look at the instrument." authentic quality but simply because he's help here in any discussion of old This is the same mistake that led to the got a sound in mind. instruments. creation of the Edwards trombone and huge Bach trumpets--the mistake of JP: Yes. His scholastic input is second to JP: Getting back to the issue of different thinking about brass in isolation from the none and his historical knowledge is articulations, one instance of that is in the rest of the music. The Edwards is a impeccable. He's taught us a great deal last movement of Beethoven's Ninth brilliantly engineered answer to a about many things, including Goethe, where the choir sings "Briider" and the question that is musically irrelevant--viz. and I think, if he could. he ~vouldhave orchestra copies it. That results in two "how do I make as powerful and even a chosen to live in the late 18th century. articulations that you don't normally use sound as possible?" and I feel the in a modern symphonic style. question "How do I do it exactly as it JN:But this makes me wonder, even was done 200 years ago?" is similarly more strongly. since he has this deep RC: One of the most important things beside the point, unless it reveals some historical perspective, ~vhyis it not a which Harnoncourt has brought to this important component of the score--which period orchestra??! band is attention to the text, but this does it doesn't most of the time. not have as much to do with authenticity JP: We are not Hamoncourt's group. His as with simpl~good music-making, even PJ: I agree. I think this is particularly so own period orchestra is Concentus though it may have started in the Early in the Beethoven Five. I've always been Musicus Wien. The Chamber Orchestra Music movement. You don't need to play told that the entry of the trombones in the of Europe was formed in 198 1 by a small a in order to match the syllabic fourth movement with and contra group of players from different countries stresses of the test. though unfortunately was supposed to have been very who wanted to avoid the routine of it's still pretty rare to find this in a shocking when it was first heard. There normal orchestral life. It started with help "modem" ensemble or orchestra. was an uproar about it and everyone was from people like Claudio Abbado and displeased. When I usually perform this took off rather spectacularly. There are JN: Well. let me see if I can bring these piece it's always been, well, sort of "So 50 players from l 5 countries and the issues together in my mind because I what?" There' no shock what so ever. orchestra works for 150 days of the ear. think it is tremendously interesting. In a IVith Harnoncourt it is the first time that In order to keep us fresh the u orkload is nut-shell. 3 musician can view early I get the sense that there is actually never allowed to increase above 150 days music with ithat I call the "time something different happening. in a year. and every effort is made to use machine" approach. X skilled musicians the same personnel for evep thing. It is studies. as deeply as he or she can, the an unusual way to work. When you join. HBS Newsletter, Issue 10, Page 4 DH: Did Harnoncourt come in and make specific requests as to the instruments to be used?

JP: He suggested that we try natural trumpets and, at that time, neither of the two trumpeters had ahy experience with them. When a new principal trumpet came in, we decided that we would have a go at it.

JN: Richard, you and Simon are both working in a Ph.D. program at the Open University under Trevor Herbert. He has often discussed the idea of the "post- modernist brass player." How does that concept tie-in with what you are doing here? (L-R) Julian Poore, Patrick Jackman, Douglas Hedwig RC: I think that, again, this just boils you don't have to change address; the orchestra gets you to wherever it happens to be at the down to musical awareness, and the start of any particular project. We have no chief conductor, and all artistic decisions are ability and willingness to adapt. My own made collectively by the players. The orchestra is run from London but most of the work is career has been fairly eclectic and, in residencies in , Paris, Ferrara, Salzburg and so on, and we tour all over the world as unlike a lot of my compatriots, I've had well. We have about 100 records in the catalogue with people like Abbado, Solti, Maazel, the good fortune to work quite a bit with Perahia, and others. people such as Jean-Pierre Canihac and Daniel Lassalle in Hesperion XX. I also SW: It so happens that we have a brass section that is interested and willing to go along with play in a English folk band called Brass some of these ideas and that is how it came about. And of course you can do an enormous Monkey, in which the and amount of authentic performance if you simply blow modem instruments in a way which is squeeze-box players are world-famous on informed. It just seemed sensible to go in this direction. the folk music scene, and I've learned a lot from them, too. But the key point is JP: The big difference is actually in the attitude of the players. Rather than changing that, from a viewpoint purely of musical mouthpieces or instruments, it's more the willingness on the part of the players to take on the style, it would be possible for me to do conductor's ideas. We play Mozart with many conductors, and it is different in each case. all this work on the same instrument. We've learned to play Gabrieli on DH: Is Harnoncourt the only conductor to push you in this direction? and from people like Bruce Dickey, who studied all the NT: Other conductors have taken benefit from it. With Norrington we've used natural historical treatises and revolutionized trumpets. Even Abaddo had us use natural trumpets in , although only what we expected of these instruments once. He really didn't like it because he wasn't prepared to take the risks involved. some 20 years ago. This is, of course, Harnoncourt, on the other hand, loves to take risks. very different from the way we'd become used to hearing Gabrieli played by, say, SW: He's really a very dangerous man. the Philip Jones Brass Ensemble or Canadian Brass. However, there is no DH: I like him already! reason why one can't play this music in an informed way on modern instruments. NT: He likes you to be on the edge. If it's safe, he's bored by it. It's again a matter of attitude. If I were to go in a modem brass ensemble, there is PJ: Charles Mackerras has a fixation about having small-bore trombones. In his small no reason why I couldn't play this Bach orchestra, in which he has modern instruments everywhere, he has rotary-valve trumpets but 36 exactly the same way as I play my he has to have small-bore trombones or sackbuts. sackbut with Hesperion XX. Obviously, the weight of sound would be different, SW: Sometimes you just respond to the conductor. At Glyndeboume this summer we were and the clarity of articulation reduced, doing a Rossini opera, Andrew Davis was and he kept saying, "I want more front but musically it's entirely possible. on it, more front on it." Eventually, I said to the other three guys (and this was the London Likewise, someone such as David Staff Philharmonic, which normally has a very big Viennese-type sound), "Why don't we use tiny could do the same on a Bb trumpet. trombones?" It worked very well and afterwards he simply said, "Glad you chaps worked out Imagine what a modem brass ensemble the articulations." There was no discussion of what hardware to use. Actually, Peter Eotvo, a playing Gabrieli could sound like, with contemporary music specialist, commented on the focused sound of the brass when we used the right players! Whether this will ever small-bore instruments. actually happen, of course, is an entirely different matter.

HBS Newsletter, Issue 10, Page 5 PJ: I've played Gabrieli in both a period SW: I think there is a "ghettoization" that you might pick up to, if anything, instrument group and in a modem brass generally. So many people's response to discover your roots, not to learn it as an ensemble and the playing is completely the overcrowding of the brass field is to instrument to help understand music and utterly different! narrow themselves down more and more. from that era. To my knowledge, there is Then they form stupid organizations like still no . When I was a student RC: It's true, we've got a long way to go. the International Trombone Association there a number of us put one together on and narrow their horizons even more. the sly. There is a great deal of music NT: I think we're going through a You get the same thing with early activity here in New York, but from my transitional period. The early music scene musicians as well. I work in both fields experience there seems to be much more that started over 40 years ago has and if I'm with an early music group openness in the British brass scene. educated all musicians about style and there is, long before a note is sounded, a eventually it will filter through to more distinct sense of my being from "the NT: I had an interesting experience just and more players. Being asked to play other village" and therefore suspect. It's yesterday when I viewed a master class at the natural trumpet, something that I very silly, this attempt to create a cartel-- Juilliard with Mark Gould. It was very never had done before, has given me is with all that that implies. If you are interesting and enjoyable. He had them another weapon in the armory. It's better going to function as a musician for a prepare some music from Stravinsky's for my survival, more flexible, lets me lifetime then you have a responsibility to L'Histoire du Soldat. They all came in make more money, and enables me to do stay as open as you can. I'm not sure and played the excerpt on the C trumpet. more varied sorts of work. One can either what it's like here in America, but in Now the part specifically calls for say, "No, I won't do that, I only play the Britain you have the phenomenon of in Bb and A. I don't know any British Bb trumpet," or you can try it and learn someone sitting on second trumpet in an player who would sit down and play it on something. You can then apply what you orchestra for forty years and never a trumpet. learned on the period instrument to your challenging his basic assumptions, but a modern playing. The way I would play similarly stone-age attitude prevails DH: My teacher, William Vacchiano, the Haydn trumpet on a modern among some early musicians as well. said to play it on the D trumpet. I said, instrument would be completely different You need a sort of musical Ellis Island to "But Mr. Vacchiano, what about the low now because of my education through mix them all up. Unless you do that notes?" He just pooh-poohed this. The playing the keyed , natural trumpets you're going to get incest everywhere cornet sound seems to be alive because and other early instruments. you look. of the tradition.

JP: I teach sixteen-, seventeen-, and PJ: It happens in every idiom of music. I JP: When we play the Stravinsky , eighteen-year-olds and do some small recently played a Duke Ellington piece which calls for trumpet in C and trumpet group work with them. When they first arranged for orchestra with the BBC in A, I use the cornet for the A part. It play a Gabrieli canzona I just let them Symphony Orchestra at a Proms concert. just seems to be a cornet part. play it. Then I put on a recording of a This is going the other way, where you group such as Concerto Palatino playing had the jazz trumpet players coming in. PJ: And yet brass instruments are getting Gabrieli and then their playing is very This was supposed to be like a big band bigger and bigger. Simon mentioned different, even after just one hearing. and the brass section worked very well before an Edwards trombone. It's too big You have kids coming into the but some of the woodwind players for anything. profession now with that sort of refused to swing and it just didn't work. openness. JN: Is that a result of American orchestral JN: I guess the answer is flexibility. tradition? JN: That's very encouraging. Richard said that there is no reason why modern NT: The issue of flexibility will solve PJ: I actually had an opportunity to play players cannot adopt a historically itself because of survival. Unless you with an American orchestra. When the informed approach but in fact there is a happen to have a job in a symphony St. Louis Symphony came to London, reason. The reason is that there are orchestra, the days are over where you their bass trombonist was ill and I filled musicians, and players than I can be a one-star player. In schools in in on a couple of hours' notice. The care to think about, who are unwilling to London during the past ten years, all that difference was when the part said mJ be flexible and try to learn something has changed. When I was studying at the everybody played mf and there was a about historical performance issues. They I never played great wall of sound at the right volume. have a rather "stone-age" mentality. The the natural trumpet. That was because the There was nothing sticking out. When result is that some brass players, and RAM thought of themselves as a place to you're playing fortissimo, everyone is some quite well known recording artists, turn out orchestral players. playing at the same volume and nobody play Baroque and Renaissance music is overblowing. It was very easy to fit in. exactly the way it was being played forty PJ: Fifteen years ago the Royal College years ago. This is particularly of Music wasn't allowed to have a big SW: The big trombones are very gray unfortunate because musicians have band. It just wasn't the sort of music and bland sounding. Blandness is a big learned so much about early music and expected to be heard at the Royal College problem in brass playing and it is a they have not availed themselves of any of Music. worldwide problem. Certainly it is in of this knowledge. What has your some British . Players in the experience been with this phenomenon? DH: At Juilliard, to this day, there is little orchestral field are generally excellent serious discussion of natural trumpet and have a very precise conception of playing, and the cornetto is an instrument what they want from their own sections, HBS Newsletter, Issue 10, Page 6 but are often reluctant to think about PJ: You ask any British string players Playing that piece with a modern their role in the broader context of the about Schumann and they can't stand him orchestra and a conductor whose done it music. Usually they think they're more and say he's too thick, and that there is a thousand times and doesn't even know important than they are and you get a too much going on. That's just because what the words mean, doesn't have any "brass against the rest of the world" you have about twice as many strings on affect at all. There's the "lion's roar" approach. Now I see there are special the stand as there should be. where the trombone is always getting heavy mouthpieces to help people play nasty looks and you think, well it's even louder! Daft. It comes back to the NT: Then there is an issue of economics. supposed to be a lion's roar! There is also same issue every time - using the A symphony orchestra can't survive the other bit where the and imagination. Because we are potentially anymore by playing the entire the bass trombone come in with the loud so disruptive, the brass in every symphonic repertoire, which in the past pedal Bb. It's supposed to be one of the organisation have to think very hard is how they got their audiences. The animals but in a modern orchestra they about what everyone else is doing. The early music scene has taken away some always say, "Oh, shut up, we're trying to thing I most enjoy about playing in this of that. There're not many people who hear the strings." With Norrington and orchestra is the way it is very much like would go hear a modern symphony Mackerras and a few others, they know playing in a quartet. Everyone's line of orchestra play even a Haydn symphony. what they want and they know that it's a sight is to the leader, there's a lot of eye There may come a time when we'll want comic effect. The audience is supposed contact all around, and it frees the to hear an authentic performance of a to laugh, not continue sleeping, which is conductor to be a catalyst. Mahler symphony played like the what most people do. London Philharmonic played it in 1995! JP: One of the really good things about JP: Do you remember the reaction in using the variety of instruments that we JN: I hope we all live that long! Vienna at the end of Beethoven Five? use in this orchestra is that when you need to, you can get a much more JP: For the modern symphony orchestra, NT: When we first played this, homogenous blend with the horns, what do they do then? It's really a knock- Harnoncourt told the orchestra not to be trombones and trumpets. It is particularly on effect from the repertoire that's been surprised if, at the end of this piece, the so when we are using written for the past one hundred years. audience boos. He said, "I want you to trumpets or, best of all, when we use People now expect pyrotechnics. It's a know that they are not booing you, they natural trumpets. It's much easier to get a circus. They want to hear how loud the are booing me." We got to the end and blend. In the big tune in the second trumpets can play and how fast the there was this long silence and I'm not movement of Beethoven Five, you have can play. It's got much more to do sure if the audience knew whether they to play with and and it's with display than with emotion. were going to applaud or boo. Then there much easier with natural trumpet than it was a slow ripple of applause. But they is with the modern Bb. NT: It's also got to do with conductors. were shocked. They get on and off airplanes with the DH: I like the quartet image that you use. same program that they take the whole JP: There was a tame version of that the Listening to the rehearsal I commented to world over. Same program, New York other night here at Carnegie Hall. There Jeff that the band was really cooking. It Philharmonic one day, Chicago the next, was a long silence at the end of was so impressive. then get on a plane and do it in Beethoven Five again. They were not Amsterdam. They only need four quite sure what to do. NT: Harnoncourt just trims the fat. It's a programs to keep them going for a whole bare-bones sort of sound. year. So they are just churning out the SW: About ten years ago in Vienna with same thing with different orchestras and the LSO, two old ladies in the audience SW: This is partly because of the small are not really interested in making music were heard talking after what had been a string section. We play the Brahms that shocks anybody. very workman-like performance of a symphonies with an even smaller band Brahms symphony. They were asked if than the one you heard today--usually DH: Shocking was the word that you they liked the performance and they said, this orchestra fields a string strength of mentioned at the beginning of our "Yes, it was a good Brahms but it was ten, eight, six, five, three. With the right conversation. The idea of replicating not our Brahms!" In Vienna, if it's not the instruments that strength gives a good something about the way people must , they are very balance. It's the same with Schumann. have first reacted to this music. That suspicious. I was rather surprised by the There is a myth that Schumann was a quality is what drew me into early music reaction here in New York. I always lousy orchestrator, but the problem is and I've heard other people speak of this think of New York as being more open- that an enormous string section is usually as well. It's fascinating to think what it minded. The silence was not as long as used to play Schumann and you end up must have been like to have heard this the Viennese silence, but it was there. with woodge. When you use a small music for the first time, to have grown up string section and use very transparent with many accepted sounds and then JP: Then you get something like the end small brass instruments you suddenly something comes along that shatters all of Beethoven Seventh, which is really an realize that he's not a bad orchestrator, he that. orgy, and the audience goes wild. That's just adds about one more line of what Harnoncourt's trying to counterpoint than you'd expect. Suddenly PJ: It's like in Haydn's Creation, where communicate. it all sounds very logical and light on its he has all these circus effects with the feet. contrabassoon and bass trombone.

HBS Newsletter, Issue 10, Page 7 DH: Have these Beethoven symphonies been recorded?

JP: Yes, that's what we're here to promote!

NT: For me, the demands of what we are expected to do are so great that I never just sit back and enjoy it. I'm usually either thrashed to death, or shaking like a leaf. I'm always on edge. I don't particularly like to go through it myself but when I'm on the other side, it's a completely different experience. One of the great things about the Chamber Orchestra of Europe is that we are willing to take the pain a bit, to be a sponge and try to soak it up a bit and do what the conductor is trying to have you do. That is what set's it apart from many other orchestras. (L-R) Richard Cheetham, Simon Wills, Nick Thompson, Julian Poore, and Patrick Jackman

PJ: Definitely. Next week, I have to do PJ: That's how it should be. In the symphony DH: That's why people often choose to Beethoven Nine with the London orchestras in Britain, what they really want is freelance. As hectic and unstable as the life is, Philharmonic Orchestra and I'm probably someone who is going to let them go home an there is at least the possibility that there will going to use the instruments that I'm using hour early. be situations where the right musical here. It will probably be smaller than the chemistry will be there. instrument the second trombone player is SW: There is a saying in British orchestras using but I couldn't care less. If I played my that "He has it his way in the concert and we SW: It comes down to danger. If you play an large Conn trombone with the LPO and play have it our way in the show." I don't think instrument as treacherous as all brasses are, it the way I've played here, everyone would any orchestra should sit passively by and be then you've got to like danger. If you don't, want to know what the hell's going on. dominated by a conductor--you never get you're going to die or give up. I'm going to be good results that way--but I find that closed rather frightened tomorrow! SW: The nice thing working with attitude very sad. Harnoncourt is the mind set which says that JN: Well, if today's rehearsal is any we've got to experiment and look beyond DH: It's often the same here. There is indication, you folks may be frightened what we usually expect. That attitude has also definitely a "symphony orchestra head." tomorrow but I can tell you that the audience spilled into what we expect from other will be thrilled, and I hope, a bit shocked. conductors. I suspect it's rather alarming to PJ: We've all played Brahms One a hundred Thanks very much for your thoughts. stand in front of us where we're challenging and fifty times, and when someone says that you. "Come on, what are you going to tell us? he wants to do something different, most Have some ideas? We're quite willing to players cringe. listen and do something crazy."

HBS Newsletter, Issue IO, Page 8 A Report on Makers World-Wide by Richard Seraphinof

The following list of natural horn makers also make mouthpieces and can make alto to B-flat basso at A=440,430, and with descriptions of their instruments copies either from an original or from 4 15. The price for the standard model (which in spite of all possible efforts, is measurements. Special requests and horn with this set of crooks in the 1997 certainly still incomplete) is an updated custom work are welcome. price list is Sfr 6495; horn corpus alone version of the list originally published in is Sfr 3360. The historic model is 199 1. It includes some new makers not Couesnon Sfr 8903, with all crooks; corpus alone is listed at that time. Having neither seen 3. Av. Ernest Couvrecelle 3 Sfr 5040. This instrument can also be nor played many of these instruments, Estampes sur Marne made with the traditional French set of and being one of the makers on the list B.P. 44-02402 Chateau-Thierry Cedex, crooks, consisting of a separate crook for myself, the fairest approach was to use France each key as in the original. Standard only information obtained directly from Tel: 23-83-5675 Fax: 23-83-6797 model with all crooks, Sfr 8280. The the makers themselves, making no historic model is Sfr 1 1,094. Delivery personal evaluations or comparisons Among the wide variety of instruments time is six months. among instruments. (with and without valves) that Couesnon makes are a 19th-century French Helmut Finke GmbH & Co. Gebr. Alexander Orchestra Horn and several types of Industriestr. 7 Rhein. Musikinstrumentenfabrik GmbH trompes de chasse. The orchestra horn is D-32602 VlothoIExter, Bahnhofstr. 9 copied from a model by Gautrot (Paris) Tel: 52-28-323 Fax: 52-28-7462 D-55001 Mainz, Germany of about 1860, and is built on the Tel: 61 -3 12-88080 Fax: 61-3 12-24248 standard orchestra horn pattern (bore size Finke was one of the first makers to 1 lmm or 11.5mm) with tuning slide and become involved in reproducing Alexander is currently producing two crooks for F, E, E-flat and D. Price is historical brass instruments and has been models of horns, an accurate reproduc- f 16160. Crooks for B-flat alto, A, A-flat, producing early horns, trumpets, and tion of a French orchestra horn (their G, C and B-flat basso can be special- trombones for forty years. There are two Model 290) and a modern-bore natural ordered. The trompe de chasse comes in different natural horns. The first (model horn (Model 194). Model 290 has a bore a variety of models of various qualities no. 80) is a horn with a fixed size of 11.3mm and is copied from an and prices ranging from the "Tromp2.de and small bell. The pitch is in F, but can original of about 1840 by the well- Piquer in Re: (f 47300) to the extra light be switched to lower pitches by known Paris maker Antoine Halari. This (750 grams) "Trompe LCgere in Re" exchanging the main tuning slide. Price: instrument is a fairly small horn on the (f 8370). Case for the Gautrot is f 3895. DM3000 ($2000). usual pattern and is furnished with a set Instruments can be delivered almost The other instrument (No.83) is a of terminal crooks for B-flat, A, F, E, E- immediately upon ordering. Bohemian Inventionshorn with a larger flat, D, and C, as well as a coupler which, bell; five crooks (C alto, B-flat, A, G, F) when added to C basso, makes B-flat Adolf Egger and a coupler are included with the basso. The horn is made at A=440, but Metallblasinstrumentenbau instrument. Other crooks are available. extra slides can be ordered for lower Turnerstrasse 32 Price: DM5 100 ($3200). pitch levels. The bell is made using CH-4058 , modern working techniques and has a Tel: 6 1-68 1-4233 Fax: 61-68 1-7220 Lowell Greer bell garland. Price for body of instrument William Cummings House and all crooks: DM10,325. Adolf Egger, already well known for 1022 N. Superior historic trumpets and trombones, also Toledo OH 43604, USA Model 194 is essentially a horn of produces a French Classical horn copied Tel: 4 19-244-32 19 modem bore and bell size without valves. from an original of 184.1 by Courtois. Alexander has been producing this model This instrument can be supplied in two Modem and early hornist Lowell Greer of natural horn for many years, while the different models, depending on the has been making reproductions of several more historical above-mentioned Model degree to which the instrument is hand styles of early horns since 1970. He is 290 was introduced in the early 1980s. made. The standard model is essentially currently making two types of crooked The horn stands in F and is supplied with hand-made, but with drawn, seamless horns and two crooks for E, E-flat, D, C, and B-flat tubes. The historic model, which they Classical orchestra horns; he also offers a basso, which fit into the tuning slide. The began offering in 1990, is made course to qualified candidates in which mouthpipe is fixed to the body of the the completely from hand-made tubing; the the apprentice constructs his own instrument. Price for horn body and all bell on this model is completely instrument(s). The two Baroque horns crooks: DM5205. hand-hammered. The price list refers to are pre-1750 models without tuning this instrument as an Inventionshorn due slides, based on instruments by Stark and Cases are available for the Model 290, a to the fact that Egger has developed a Hoffmaster. The Stark horn is a rectanguar wooden box with space for crook system which involves four tuning three-coil instrument with a rather large the horn and all crooks. Cost: DM680. slides of various lengths, three crooks, bell throat and flare which can be The Model 194 fits in a standard horn and one cylindrical coupler that will crooked from F down to C basso at case, which Alexander also makes. They allow the horn to be playsd from B-flat A=4 15. The Hoffmaster is a two-coil HBS Newsletter, Issue 10, Page 9 horn with a smaller bell and can be handmade case. A variety of mouthpieces Kalison s.n.c. crooked from C alto to C basso, also at are also available, both of sheet metal Via R. Rossi 06 A=4 15. The crook system generally and turned, for Nlg 264. 20 16 1 Milano, Italy consists of B-flat alto and G terminal Tel: 39-64-53060 Fax: 39-64-65927 crooks, and a set of three or four couplers M. Jiracek & Sons American Agent: plus tuning bits. Both horns can be made Zahradni 340 The Exchange with or without nodal venting. 683 53 Saratice, Czech Republic 1825 Chapel Hill Road Tel/Fax:42-05-442240 16 Durham NC 27707 USA The Classical horns are characteristic of American representative: Jan Bures, 3 19- Tel: 9 19-493-5 196 the late 18th- and early 19th- century 16th Avenue, French and Austro- Bohemian San Francisco,CA 941 18 USA These horns are made by the Kalison instruments. The French Orchestra Horn Tel: 415 668-5743. firm in Milan, Italy. They are large is made with a small French style bell Jiracek's horns are distributed by Osmun Germanic orchestra horns with a full and characteristic long, slow tapers Brass (6 17-646-5756) range of crooks that can be made with throughout. This horn can also be made detachable rotary valve sections. Two in the cor solo configuration with crooks The firm of M. Jiracek & Sons makes a models are available: the natural horn, from G to D. The Austro-Bohemian full line of horns including a natural which is priced at $895 for the corpus, orchestra horn is a larger instrument, horn. Jiracek makes a classical horn that and an "antique reproduction" model especially in the bell throat and flare. comes with ten crooks (high c to b priced at $1295 (corpus). Crooks are Both models of orchestra horn can be basso). His natural horn is based on an available and priced from $1 10 to $200 supplied with one-piece crooks for the instrument from the Monastery Kutna each and are made for all keys. Delivery entire range or terminal crook and Hora, 1805, but modifications havebeen time is 1-2 months. coupler systems. made in the design of the bell and bore. The bore size is 12 mm. The price Ricco Kii hn Geert Jan van der Heide (35,000 Czech Koruna or 2090 German Chemnitzer Str. 68 Withagersteeg 4 DM) includes ten crooks and the body as D-09569 Oederan, Germany NL 3882 MH Putten, The Netherlands well as two cases, one for the crooks and Tel. 49-(0)37292-4 195 Tel: 34-18-53538 E-mail: one for the body. There is no wait. Fax:49-(0)37292-23263 [email protected] Delivery time is immediate. Ricco Kuhn is a modern instrument Geert Jan van der Heide stresses the Andreas Jungwirth maker of both valve horns and trumpets, importance of making historic Hauptstrasse 15 and also makes a natural horn. The instruments using authentic techniques Leopoldsdorf, A-2333, Austria instrument is not based on a particular and materials. He works alone, using Tel: 43-2235-43351 historical model. Kuhn uses modem only hammers, anvil, and forms. The Fax: 43-2235-4281 5 technological developments such as final finish is obtained by burnishing and computerization, in making this horn, scraping to arrive at the proper thickness Andreas Jungwirth is currently making and employs modem compromises for (about 0. 2 mm in the bell section). six different models of natural horns. the instrument. It has a tuning slide and a Tubes are seamed in all instruments with Copies of instruments by Uhlmann, complete set of crooks, and is priced the exception of the least expensive Courtois, and Raoux are made with from low B-flat to high b, at between models, which have seamless tubes but hand-hammered bells (corpus only, 4,000. to 5,000 DM. Delivery time is still have handmade bells.The Baroque 39,270 Austrian shil1ings);a copy of a three months. model is copied after a triple-wound Lausmann horn with a spun-bell costs instrument by Johann Wilhelm Haas 3 1,950. ATS for the corpus. Jungwirth Ernst Langhammer & Sohn (Nuremberg, 1725). The instrument is also makes copies of two Baroque horns Postfach 25 made with crooks to play in G, F, E, E- after Leichamschneider and Ehe with 35097 Burgwald-Industriehof, Germany flat, D, and C at Baroque pitch. The cost hand-hammered bells (35,940 ATS for Tel: 64-5 1-9808 with F crook is Nlg 4484; with each corpus). Compete sets of crooks and handmade tubing, Nlg 7172. couplers are available in a "Bohemian" The firm makes parforce horns in B-flat set (C alto, B-flat alto, A, F, Eb, and (DM743) and E-flat (DM1461), as well Van der Heide produces two models of three couplers) for 13,3 10 ATS; a as a French style trompe-de-chasse horn Classical orchestra horn, including one "French" set (ten crooks, C alto to C in D (DM276). They also make a B- after J. H. Raoux (Paris, ca. 1800), and a basso with B-flat coupler) is 23,960 flat1E-flat parforce horn with a single Bohemian instrument after A. Kerner ATS. A set of crooks for the "quick-change" valve, for which the (Vienna, 1795). Both models are at Leichamschneider includes G,F, B-flat prices range for DM 1584 to DM 2732, A=430, and can be supplied with crooks and D at A=415 and costs 12,780 ATS. depending on finish. Cases are available from B-flat alto to B-flat basso. The price Crooks and couplers are also available for these horns, and delivery time is four for these two models with all crooks is individually at prices ranging from 830 to eight weeks. Nlg 9548. The same, with handmade to 4390 ATS. The natural horn case is tubing, costs Nlg 13,992. The cor solo is priced at 23 10 ATS, and a gig bag is based on an instrument by Raoux, with available at 3600 ATS. Delivery time is crooks for G, F, E-flat, or D at A=430. two to four weeks. Cost is Nlg 9 14 1; with handmade tubing: Nlg 12452. Instruments are delivered in a HBS Newsletter, Issue IO, Page 10 Steve Lewis Ewald Meinl Paxman Musical Instruments Ltd. 1770 West Berteau Avenue Postfach 1342 116 Long Acre Chicago, IL 606 13 USA D-82524 Geretsried, Germany London WC2E 9PA Tel: 773-348- 11 12 Fax: 773-348- 1182 Tel: 49-8 17 1-5 1247 Tel. 44-(0) 1240-364712 Fax: 49-8171-32018 available in the U.S. through Though mainly concerned with high- Osmun Brass instruments quality custom-made double horns, Steve Their Viennese model Baroque horn 438 Common Street Lewis also offers a natural horn, stands in C alto, with crooks down to B- Belmont MA 02 178 described in his brochure as "not a flat basso; price with all crooks: Tel. 1-800-223-7846 replic%...based upon modern tapers as DM6655. Case costs DM772. A used in my valved instruments. The Classical Inventionshorn with crooks Paxman makes two models of natural intention is for the natural horn and the from C alto down to B-flat basso is horn, one Baroque and one Classical. modern double horn to feel equally DM71 10. A Classical cor solo has crooks Their Classical horn is patterned after the comfortable to the performer, requiring from G down to low C; the price with all French orchestra horn of the early 19th as little adjustment for response and crooks is DM6825. Instruments can be century, though they do not mention a intonation as possible." Price with crooks delivered with decorated bells for an particular maker. According to Paxman's for F, E, E-flat, and D is $2600. additional DM980. He also makes E flat published literature, they have redesigned Jagdhorns and French trompet de chasse- the bore and tapered sections of the George McCracken style instruments in D. Prices range from instrument slightly to improve response 19230 Tabernacle Road DM2760 to DM3 130. and ease of playing, which they felt was Barharnsville VA 230 11 USA a difficulty with the longer tapers and Tel./Fax: 757-566-0564 Wenzel Meinl GmbH smaller bore of many old French Seniweg 4, Postfach 7 10 instruments. The Classical Horn comes George McCracken makes three different D-82532 Geretsried, Germany with a complete set of one-piece crooks, styles of small French Classical horns, Tel: 40-8171-31642 or -51018 including all the standard keys from C which are based on early 19th-century alto to C basso, plus a coupler for B-flat instruments by Raoux. They are basically Wenzel Meinl is a manufacturer of basso and a long tuning slide. The entire the same instrument made in three German-style hunting instruments. They set gives C alto to B-flat basso in almost different configurations, each with its make two models of parforce horn: a every pitch level from A=440 to 4 15. own style of crook system; the two-coil leather-wrapped horn in either The price for the horn, all crooks, and dimensions of bell, bore, and tapered B-flat or E-flat with tunable mouthpipe case is $4 195 (from Osmun). The sections are identical in all three. The shank (DM 11 1511 2 15), and a B-flat/E- Baroque horn, which, unlike most first design is an orchestra horn style flat Doppel-Parforcehorn with one Baroque horns, has a tuning slide, also with terminal crooks and is priced at "quick-change" valve (DM 155212195). has a smaller bell tail and flare than the $3600. This horn is normally supplied The "double parforcehorn" is a 20th- Classical horn, and has been with a G terminal crook and set of three century invention designed to give the conveniently designed to use the same couplers, which can be used in open horn in E-flat more available notes crooks as the Classical horn. This horn is combination to play all the keys from G and correct intonation by shortening the also not copied after a particular maker. to C basso. Other one-piece crooks from horn to B-flat alto with a rotary valve. Price for the horn corpus only: $1295. C alto to C basso can be made on This was developed by Wenzel Meinl in request. He also makes a cor solo style 1960. They also make a trompe-de- Rauch Horns with tuning slide crooks for G, F, E, E- chasse. The two models are called "light" Prof. Kohts vei 77 flat and D, priced at $4000. The third (1000g) and "super-light (840g)," Prices N- 1320 Stabekk Norway design is an Inventionshorn, also with are DM 1305 and DM 1950 respectively. Tel: 47-6712-1 199 Fax: 47-67 12- 1599 tuning slide crooks and is priced at $3600. Extra crooks up to C alto can also Graham Nicholson Well-known valve-horn maker Daniel be made for this horn. Van Hogendorpstraat 170 Rauch is currently producing two models Den Haag, NL 25 15 NX, Netherlands of natural horn. Both are closely copied, Both the cor solo and the Inventionshorn Tel: 3 1-703898988 in appearance and dimensions, from have a fixed mouthpipe, the difference French makers of the 18th and 19th being that the cor solo has an extra loop Graham Nicholson is making a copy centuries, with seamless tubing and lathe- of tubing around the circumference of the based on one of the two identical D alto spun bells. The orchestra horn, with body of the horn, making it stand in G instruments by Georg Friedrich crooks from B-flat alto down to B-flat with a single-bow tuning slide, whereas Steinmetz (before 1740). The instrument basso and a long tuning slide, costs the Inventionshorn stands in C alto with is pitched at A=421 and can be classified Nok41,495. The cor solo model is the same tuning slide. These horns can be as either a tromba da caccia or a corno Nok27,400. Cases are not included. made at any desired pitch level and are da caccia. As there has been much supplied without cases. Mouthpieces are debate on whether this instrument is a also available, both turned and made of trumpet or a horn, it can be equipped sheet metal in various designs. Delivery with either cylindrical or conical crooks time is approximately two years. to fit one's individual choice. The price is 3000 Dutch Guilders and delivery time is approximately six months.

HBS Newsletter, Issue 10, Page 11 Engelbert Schmid Gmbh All crooks are available for these DM 155.25, respectively. Syhre also Kohlstattstr. 8 instruments. does restoration work and custom D-87757 Kirchheim-Tiefenried, instrument design. Germany The current cost of the French, Viennese, Tel: 49-8266- 1579 Fax: 49-8266-1 874 and Bohemian orchestra horns with all Max and Heinrich Thein crooks is approximately $4500; the cor Rembertiring 40 Engelbert Schmid makes four different solo in brass with crooks from G to D is B-28203 Bremen, GERMANY models of natural horn: two Baroque $3530; the same with sterling silver trim Tel: 49-42 1-325-693 Fax: 49-42 1-339- models, which he designates, "Corno d is $4080; and the Baroque horn with 8210 caccia" and Baroque horn, and two either crook system is $2755. I also make Classical models, one copied from Classical sheet metal mouthpieces Max and Heinrich Thein make a number Lorenz (Linz) and a French cor solo. The appropriate to the period of these of historical horn models, including a cor price list indicates the cost of the Lorenz instruments in cor-alto, cor-basse, and de chasse after Lapret Besanqon, a instrument at DM 4900 for the corpus cor-mixte styles. Price: $90. The cost for trompe de chasse in D, and Waldhorns (DM 5700) with hand-hammered bell), a detachable valve section (two or three after Hofmaster, Bauer, Huschauer, and a complete set of crooks and extra valves, piston or rotary) is $800 to Lorenz, and Kerner. They also make tuning slide DM 3710. A case is $1000. Waiting time is approximately orchestra horns copied from Courtois, available for DM 970. eight months to one year. I do not supply Riedlocker, and Louis de Miimchs. The cases with my instruments. price for any one of these models is DM Richard Seraphinoff 5659. Crook systems for the orchestra 9245 East Woodview Drive Because I make these instruments one at horns include B flat alto, A, G, F, E, E- Bloomington, IN 4740 1-9 143 USA a time by hand, special requests such as flat, D, and C. The entire set of crooks Tel: 812-333-0167 Fax: 812-337-01 18 sterling silver braces and fittings or costs DM 5989. Their cor solo is after L. E-mail: [email protected] unusual crooks or mouthpieces can J. Raoux, and with crooks in G, F, E, E- usually be made. I also occasionally flat, and D the cost is DM 8 118. Over the past twenty years I have made make Baroque trumpets and do other approximately 130 natural horns of custom work, as well as restorations. Jiirgen Voigt several designs. All instruments have Metallblasinstrumentenbau one-piece, handmade bells with garlands. Schulstrasse 18 The instruments currently being made Fried bert Syhre 08258 Markneukirchen, Germany include: a Classical orchestra horn, Cothner Strasse 62a TelIFax: 49-37-422-2757 copied as precisely as possible from an D-04 105 Leipzig, Germany original by Antoine Halari (Paris, early Tel: 49-341-581331 This firm produces a natural horn copied 19th century) from the collection of Fax: 49-34 1-5645960 after Johann Schonheit (ca. 1800), owned Charles Valenza of Rochester, New by Dr. Gunter Joppig in Munich. The York. This is an orchestra horn of the Syhre, who is also well known for his bell is hand-hammered, and the surface is French style, with a rather small bore and several models of modem descant horns, scraped and burnished. The horn comes bell. This instrument can be made in the makes an 18th-century Baroque horn in D alto at A=432; crooks for C, B-flat, standard orchestra horn configuration, after Leichamschneider, and a 19th- B, A, G, and F are also available. The and can be supplied with any number of century Bohemian natural horn copied horn in D alto costs DM 5910; with all crooks up to the entire set of eleven (C from an original made by F. Korn in crooks, it costs DM 6890. Cases are alto to C basso plus B-flat coupler) and Mainz (ca. 1830). The Korn instrument is available and the delivery time is four to low-pitch tuning slide, or in the cor solo made on the Inventionshorn pattern, with eight weeks. They do not make style with crooks for G, F, E, E-flat and fixed mouthpipe and crooks that fit into mouthpieces, but do custom work and D at A=440 or 430. With the full set of the tuning slide. The large bell and bore restorations. crooks and long slide, the orchestra horn size make this a very appropriate is playable at A=415,430 and 440 in all Romantic instrument. Syhre describes John Webb keys. The orchestra horn can also be this horn as being made using working Padbrook, Chaddington Lane made with detachable sets of two or three methods of the period. The bell section is Bricknoll, Nr. Wootton Bassett piston valves. The Baroque orchestra made from a single piece of metal (no Swindon SN4 8QR, Wiltshire, England horn is copied after Haas (Nuremberg, extra triangular gusset in the bell flare), Tel: 7931753 17 1 early 18th century), and can be made and both the body of the instrument and with a G crook and three couplers, or crooks are made from rather thin metal, John Webb produces three styles of with an F crook and two couplers. as was the original. The Baroque horn natural horns which he calls the Additional crooks are also possible. also has a handmade bell. Webb-Halstead Baroque and Classical horns (Bohemian and French). London I have also begun production of a The crooks range from B-flat alto down natural horn player Tony Halstead Viennese orchestra horn copied from to B-flat basso. The price for the horn provided technical and practical advice in Leopold Uhlmann, in the typical corpus is DM 2357 (Korn) or DM 2557 the designing of the horns, over 200 of Viennese configuration, which has a (Leichamschneider). The entire set of which have been made since 1988. The larger bell throat and diameter, and a crooks costs DM 2240 (Korn) or DM Bohemian Classical model is a Germanic Bohemian style orchestra horn of the 3 140 (Leichamschneider). A soft case for Orchestra Horn of a fairly large design, early 19th century, also with a large bell. the horn and a separate bag for crooks copied, with slight modifications, from are also available for DM 24 1.50 and an original by the late 18th-century HBS Newsletter, Issue 10, Page 12 Bohemian maker Franz Stohr. Both the system that will give the keys of G, F, E- horns (German versions of the French Baroque and Classical horns are finished flat, and D. The horn can also be played trompes de chasse) are available in the with bell garlands and bracing typical of using the Classical horn crooks. This following models, all with green their respective periods. The crook horn does not have a tuning slide but can wrapping and tuning shank: B-flat with system is described as Viennese, be adjusted with a thumb screw tuning one or two coils, F in two coils, E-flat in consisting of C alto, B-flat alto, F, E-flat shank and tuning bits. Four vent holes two or three coils, D in three coils. Prices and four couplers, making it possible to have been added to correct the intonation range from DM 1025 to DM 1 160. play in any key from C alto to B-flat on the 1lth and 13th in G, F, Without wrapping, made of thinner basso in any pitch level from A=440 to E-flat, or D, one hole for each key. They material, and highly polished with 415. The horn is supplied with a are supplied with screw caps so that the lacquer finish, the same instruments handmade brass-fitted hardwood case. player has the option of performing with range from DM 1685 to DM 2000. The Current price for horn, crooks, and or without the the holes, and possibly parforce horn can also be made with a couplers, £23 10; hardwood case. £195; using hand stopping. The horn can also quick-change valve, allowing the gig bag, £160. The French hand horn is be ordered without vents. Price for the instrument to be played in E-flat and B- based on an instrument by Raoux, and body, £925; crook-and-coupler system, flat, for DM 1425 to DM 1854. Also comes with three crooks (B-flat, E, and £460; hardwood case and gig bag as available is the small "Fiirst-Pless" horn, G), two couplers, and two tuning slides, above. Delivery time for these horns can which is also tunable (DM 570; DM resulting in all keys from B-flat alto to B- be had by contacting John Webb directly. 1725 with three rotary valves). Wolfram flat basso. Other one-piece crooks can be has also recently developed an orchestra supplied on request. Price for horn and Gerhard Wolfram horn copied from Courtois. Prices are crooks: £2 150. Hardwood case and gig Wernitzgriiner Str. 27 available on request for this instrument. bag as above. The Baroque horn is based 08258 Markneukirchen, Germany All of these instruments can be supplied on a Viennese Leichnambschneider Tel./Fax:49-37422-3069 with soft cases and delivery time is very crooked horn of ca. 1720 with an short. He also does restorations. additional adjustment to the size of the Gerhard Wolfram, maker of many types body hoop to make the horn play at of brass instruments, offers a variety of A=415 and has a crook-and-coupler Jagdmusikinstrumente. His Parforce

A Brief History of the Finnish Brass Band by Paul Niemisto

The Finnish brass septet (called brass music and adapted the tunes for publishing houses. By the end of the torviseitsikko in Finnish) has its roots in their own use. The brass septet also Second World War, the brass septet was the late 19th century. Musicians who borrowed Finnish folk songs, arranging a quickly fading memory. played in the army bands took their them in their own style for the band. music and instruments home with them Holger Fransman, a Helsinki Philhar- and formed brass bands in their home As the music developed in Finland over monic horn player who played in first communities. These military musicians the years, the tango, cabaret music, and performances of Sibelius works, was a came back to their villages with a new jazz added their influence to the Finnish central figure in the revival of septet and distinctly Finnish brass band music septet . Traveling bands and music. He and trombonist Olavi -- a mixture of Russian, German, recordings from other nations carried Lampinen were responsible for radio Swedish, and authentic Finnish musical over of the brass septet- recordings of septet music in the 1950's, influences. and also contributed to its eventual and for later efforts to bring it to the downfall. The septet tried to adapt to attention of younger Finnish players. The sounds of the torviseitsikko could be these new styles, but soon fell from Professor Fransmann died this past heard in most villages in Finland in the popularity as jazz and the music of the January, in his eighties. late 19th and early 20th centuries: at became more economical for concerts, funerals, music festivals, dance small dance halls and the American style In the 1990's, a revival of the brass septet halls, and numerous social events. They "big band" became more fashionable in is taking place in Finland due to renewed would often provide the music for the larger towns. By the end of the interest in their own heritage and due to religious worship services and 193OYs,the age of the torviseitsikko was the large number of excellent brass ceremonies. The torviseitsikko became a over, and Finland was caught up in the players that have emerged in recent part of Finnish folk dance and social jazz movement. The military bands and years. The Finnish septet is almost dance tradition, with cross influences village bands of Finland became more unknown among Americans, except from country fiddlers and accordion interested in the mixed instrumentation among musicologists who may have players- some of whom who took the demanded by the American and British learned about early Sibelius works.

HBS Newsletter, Issue 10, Page 13 Many of the Finnish village bands have been celebrating their centennials during this decade, and have gone back to re- examine their original forms. While Finnish bands of mixed instrumentation are quite common today, almost all of them had their origins in the seven piece brass tradition.

The original Finnish septet instrumentation is one E-flat cornet, two B-flat comets, E- flat alto horn, B-flat , B-flat baritone, and tuba. A drummer has been an occasional addition, but is not considered part of the original concept. Septet from Laitila, Finland, 1891

The Finnish septet at the turn of the arrangers have contributed many new instruments. These musicians, mostly century played on rotary valve works for the septet . orchestral players from Helsinki, did instruments that were imported from their recordings at Finnish Broadcasting Prussia and Czechoslovakia, especially RlStudios with trumpets, , and from Grazlitz (Kraslice) and Since the early 1980's there have been trombone. Markneukirchen. Modem septets usually several local histories published in play on piston instruments of more recent Finland by the "centennial committees' This book has been an immediate manufacture, although a few groups play of local Finnish bands. They are mostly sensation among Finnish brass players, today on period instruments.. The unique in the Finnish language (occasionally in giving a nation-wide format and history concept of seven part instrumentation Swedish) and rarely have an English to the many individual bands' localized was developed under conductors Adolf summary. These books must now surely views of the septet. As with many other Leander (1 833- 1899) and Alexei Apostol number in the dozens and are valuable researchers' efforts to put an emerging (1866- 1926), both military men from the sources if information about repertoire, story into print, "The Finnish Brass Helsinki garrison. The Finnish brass instrumentation, and function in these Septet" has yielded an outpouring of septet format derives from brass band early septets. The most recent have 1995 additional information subsequent to traditions of Imperial Russia, Sweden, publication dates. I am in possession of publication. Most notable is an article in and Germany- three foreign cultures that eight such centennial books, and am not two installments by Simo Westerholm, exerted strong influences on Finnish aware that a complete collection has been appearing in the Finnish Folk Music musical life. assembled by any Finnish enthusiasts. Institute's magazine "New Folk Music" (May and June 1995); it outlines several The repertoire of many Finnish septets is In 1995, following many years of differences of opinion on Westerholm's derived directly from original hand research, Dr. Kauko Karjalainen part regarding the contents Karjalainen's manuscript sources to be found among published a book entitled Suomalainen book. (Address: Folk Music Institute, Finnish band libraries and archives. Torviseitsikko- Historia ja perinteen 69600 Kaustinen. Finland). Westerholm Waltzes, schottisches, polkas, mazurkas, jatkuminen (The Finnish Brass Septet- is an ethnomusicologist. He raises polonaises, and other social dances are History and Living Tradition). It is the questions about the historical sequence of well represented in the old books. In only current source with detailed events as presented by Karjalainen, the many cases, only the scores were information on the evolution of the omission of several important bands from published, with parts then being copied septet, biographical information on the historical record presented in the out by junior grade military musicians important brass band leaders, notes about book, suggested additions to the recorded (while in the brig) or by village amateurs. repertoire and recordings, and a survey of music list, and questions about the Distinctly Finnish dances included in current activity. Karjalainen, an avid function and importance of various these collections are the jenkka, humppa, amateur brass player, is music librarian figures and events in Karjalainen's text. and the Finnish version of "tango." As a for the Finnish Radio Symphony. The 18 It seems that Karjalainen's book and contribution of the amateur brass band page English summary at the back of his Westerholm's responses are just the movement in Finland, such prominent book is the most extensive reference beginning of an unfolding story. We are as Sibelius, Toivo Kuula, and source on Finnish brass septet history expecting more installments. Leevi Madetoja composed concert available to non-Finnish readers. The repertoire. Numerous transcriptions were photographs included in this volume, as Sources for Repertoire made of standard orchestral music. Many well as those in the many centennial A majority of the older compositions and of the concert pieces for brass septet were books cited earlier, are full of detailed transcriptions for Finnish brass septet commissioned to be performed at large and important information. One sees, for were either unpublished or were national music festivals by massed brass instance, that the efforts to revive the originally available only as a conductor's bands. During the past decade, when the septet and produce radio recordings score. One can find these scores and sets Finnish septet has been enjoying a during the 1950's did not include any of manuscript parts (complete with a revival, modern Finnish composers and attempt to use authentic smattering of errata) in several archives HBS Newsletter, Issue 10, Page 14 Amerikan Poijat (Boys of America), 1994 - Rural Wisconsin

and band libraries around the country. A NMY (Nurmeksen Musiikkiyhdistys) (the Festivals and Events remarkable collection of handwritten Music Society of the village of Held at the end of July every summer septet material is in the Sibelius Museum Nurmes). Address: Pielisenkatu 9, since 1980, the Lieka Brass Week has in Turku; address: Piispankatu 17,20500 75500 Nurmes, Finland. (A source for been a center for brass activity in the compositional library of Vain6 Turku, Finland. This museum, while Aro- a living composer writing in the Finland. While the festival has regularly named after Sibelius, is a national old traditional style; mostly dance brought in world-renowned teachers and repository for a wide range of historical music). performers for orchestral brass playing, it music materials. The septet manuscript Blosari Publishers (A new publishing has also attracted several amateur Finnish material is composed by various enterprise presenting contemporary septets, who spend the week in intensive . musicians, including Sibelius. Finnish wind music. The Blosari workshops. catalogue has several titles for brass Published sources are often connected septet- either modem pop style or In its second year, the Johan Willgren Baroque transcriptions.)Address with active bands who release editions of forthcoming. On the World Wide Festival, held in the village of Orivesi, their own material. Examples are: Web: http://www.clinet.fi/-blosarit places a special emphasis on the septet Hyvinku Rautatien Soittajat (HyvinkM SuLaSol (Suomen Laulu ja Soitajien Liitto) tradition. Willgren was a turn of the Railway Band). Address: Finnish Singing and Playing Society. century pioneer in organizing septets and Paavolankatu 17,58900 HyvinkBua, Address: Fredrikinkatu 61,7krs. writing music for them. The festival Finland (Mostly dance tunes- polkas 00100 Helsinki, Finland. (An amateur attracts bands and septets for a series of schottisches, waltzes, etc). music league that publishes a wide STM Musiikki (Finnish Workers' Music concerts in his birthplace. Future plans range of materials, including old include septet performance competitions, Association). Address: Finnish septet music.). Hameenpuisto 33b, 33200 Tampere, and composition prizes. Finland. (A source for fine old Current recording^ arrangements, as well as new releases On the Web One can find a large number of locally by younger composers, for brass Ameriikan poijat: septet). produced souvenir cassettes -- available http://pages.prodigy.com/project34/poijmain. Fazer Musikki. Address: only through the village bands directly. htm Aleksemterinkatu, 00100 Helsinki , They are very "quaint," and often feature Sointu Seitsikko: Finland. (A source for editions of music that has particular meaning to the http://www.abo.fi/-matti/Sointuseitsikko.html Sibelius scores for brass septet and band in question. A catalogue of these Blosari Publishers : older dance arrangements). recordings can be had by combining http:Nwww.clinet.fi/-blosaril The Finnish Music Information Centre. Karjalainen's book, Address: Lauttasaarentie 1,00200 those in Helsinki, Finland. A source for study Westerholm's articles, and perhaps scores of contemporary Finnish allowing for some more possible composers, including a small number omissions. of examples for brass septet.

HBS Newsletter, Issue 10, Page I5 Books and articles in English on the Books: 2."Brass and Drums" Solna Brass of Sweden ; Lars-Gunnar ~ubiectof the Finnish brass septet Vehmas, Jukka: "SytytttitvSt SSvelet (Inspiring Tunes)- a survey of brass Bjorklund, conductor. Articles: bands in Laitila Parish before World Solna, Sweden : Oompah Records,, Fransmann, Holger. "Special Finland: Die War I1 (English summary); Turku, 1990. Tradition der Blasmusiken (the septet)" Finland: University of Turku Folk 3. "Original 19th Century Music for Brass" (in French, English and German); Brass Institute; Publication No 11, 1983. London Gabrieli Brass Ensemble. Bulletin-International Brass Chronicle, Jalkanen, Pekka: Alaska, Bombay, ja Billy London : Hyperion Records, 1991 no 53 (1986), pp.49-5 1. Boy: Jazzkulttuurin murros Helsingissti Kanerva, Simo. "Special Finland: ein kurzer 1920-luvulla; "The rise ofjazz music 4. "Finnish Brass in America" Blick auf die gesichichte der finnische culture in Helsinki" (English summary); Amerikan Poijat (Boys of America)-Paul Blechblasmusik." (in French, English (ISBN 95 1-25-0180-5) 1980 Helsinki, Niemisto , Dir. and German); Brass Bulletin- Jyvbkyliin yliopiston musiikkitieteen New York, Global Village Records, CD International Brass Chronicle, no 53 laitos, 1990 810, 1994 (1986), pp.52-55. Commercially available CDs containing Karjalainen, Kauko. "Special Finland: Brass original Finnish Brass Septet music: 5. "The Charm and Passion of Youth" Achieves Respectability" (in French, The Finnish Brass Ensemble English and German); Brass Bulletin- Tampere Finland, Alba Records, ABCD International Brass Chronicle, no 53 1. "The Tempest, and other selections- Jean 102, 1994 (1986), pp.36-38. Sibelius" Gothenburg Symphony Orchestra ; Karjalainen, Kauko. "The Brass Septet An extensive discography of additional Tradition in Finland" (in French, Neeme Jarvi, conductor CD and cassette recordings can be found English and German); Brass Bulletin- BIS CD 448 1989 International Brass Chronicle, no 2 1 in Karjalainen (pp 144- 158), mostly produced privately by the individual (1978)., , Karjalainen, Kauko. "The Brass Tradition in ensembles. Finland," HBS Journal, v.9 (1997).

Message from a Cornettist at St. Mark's, dated 1614 by Bruce Dickey

The following note, translated loosely chops are still pretty good even though much, but make it good). This, I think he from the wine- and water-stained original he's nearing retirement now. Giovanni told me, he got from his teacher, in Venetian dialect, was found can also still improvise a mean Girolamo da Udine, but if you ask me, handwritten on the back of the only diminution, though from the stories I it's the pot calling the kettle black as far surviving manuscript copy of hear he can't hold a candle to old as Girolamo is concerned, at least to Monteverdi's sonatas for one and two "Girolamo dalla Casa" from Udine, not judge by his little division book that they cornetti, recently discovered during that I ever got to hear him in person! Of make us all learn by heart. restoration work in one of the canals near course such things are not so much in the Teatro La Fenice. The manuscript fashion these days, and I must say it Now everyone's talking about these had been carefully sealed in a wine flask makes me nervous, all this talk about horrible violins. Sounds like music for and tossed into the canal where it lay monodies and fables in music and the dance hall to me. They wiggle their beneath the muck for three and a half concerti and only a few voices and a finger a little bit back and foth on the centuries. The author, whose existence is couple of scratchy violins. What kind of string, call it tremolo, and think they're documented in the Venetian archives, a concerto is that!? imitating the ! Ha! I think clearly had an eye to immortalizing we cometto players could teach them a himself to future performers of his , God rest his soul, thing or two about imitating the human instrument, but reveals himself to be a now there was someone who knew how voice! We even use a tonguing called reactionary of limited vision. to write church music! I've heard a rumor lingua di gorgia because it sounds just Nonetheless, his unique point of view that one of the local publishing houses is like the way singers articulate passaggi lends great interest and poignancy to his about to bring out a big collection of his in their throats. Just listen to a violinist commentary. Of infinitely greater interest pieces that have been lying around since playing divisions, rosin flying are the sonatas themselves, which the he died a few years ago. I've played some everywhere and their arm going up and translator intends to record at the earliest of those pieces here in St. Mark's and at down like a dog scratching fleas. I hear possibility. Here then is the text of the one of the Scuole grandi just around the over in Milan the violinists are even note: corner and over the next canal, with the starting to play their divisions all in one maestro himself playing organ and old bow stroke--1ireggiare I think they call Salve. My name is Giovanni Sansoni. I Bassano playing the top cornetto part. I it--but it just sounds sloppy to me. Like have just been hired as cornettist in the can still hear that glorious sound ringing old Giolamo used to say, don't let your band at St. Mark's. A pretty good gig, in my head, and then Giovanni's stem tongue be lazy when you make divisions, non 2 vero! I get to play next to my voice when I threw in one too many or your music will be mute. teacher, old Giovanni Bassano, whose divisions, "poca roba, ma buona" (not

HBS Newsletter, Issue IO, Page 16 Speaking of Milan, a few years ago an called some of us over to Mantua to play divisions. But just look at his pieces organist over there by the name of Cima, some Vespers that he had written for a called Le nuove musiche--they're full of I think it was, wrote some new sonatas, little church there. I was a little nervous divisions. I think he just wants to write not like the ones we're used to here with already because Maestro Monteverdi the divisions in himself. Even Montever- five or eight or even twenty parts, but never was much of a fan of the cornetto. di's starting to do that, says he got the just two or three solo instruments with When he gave me the part I nearly had a idea years ago from some singing ladies what people are calling a . stroke--it went up to high d, and not only in Ferrara. But what's the fun in that--all Now that's really a good idea -- and he once! Then it dawned on me that of the notes written down on paper ahead of even wrote three of them for cornetto! I course he meant for us to transpose it time? hear that a lot of the guys here are down a fourth like we do all the time thinking of following up on his idea. when we play with singers. That was a Just the same, they do have some good Biagio, a fantastic young violinist here at scare though! ideas, these new singers. They make all St. Mark's, has got a bunch of pieces sorts of beautiful effects with their almost ready -- I think he calls them But I'm getting off the subject. "Imitate voices, swelling and decreasing on long affetti musicali--and he's written some for the human voice:" that's what they all notes, adding little accenti and all sorts cometto too. I'm just afraid all these say, but it's getting harder and harder of new tremolos. And they really do ambitious young players are going these days. Used to be that a singer just have a way of making you think they're to start writing things that we can't play- opened his mouth and sang with a speaking to you while they're singing. -absurd things that I've heard them beautiful sound and if he had disposi- They call it recitar cantando (singing practicing in the sacristy, playing two or tione--I mean if he had vocal chops, if speech) and they use a kind of freedom three notes at once, or passages way up you know what I mean, he would let fly called sprezzatura that sounds a lot easier in the stratosphere -- and that will be the with some really incredible passaggi. than it is. Just between you and me, I beginning of the end for us cornetto That's something I really know how to think we cornetto players had better get players. I already hear people whispering imitate. But now all these Florentines to work learning how to imitate all these nasty things behind my back: things like, with their noses in the air say that new effects too, or we're going to be out "why don't you get a real instrument, divisions ruin the expression of the text of work. I plan to be around playing this clown, get in touch with the times;" or "I and you just have to recite in music like instrument for a long time--unless the can't believe they still play those things." the ancient Greeks. Giulio Caccini, the plague gets me first. Roman bastard, is the worst of them all. Vivete felici! Speaking of high notes, I got a scare a He goes around claiming to have few years back. I think it must have been invented everything himself and tells -- --Translated by Bruce Dickey, Bologna, a year or so before Cima published those everybody that only bad singers make November 1996 sonatas. Maestro

Letters to the Editor

To the Editor: means "large trumpet." Trombe appeared family of modem ? Else- in the French vocabulary in the middle of where, I think, that it is more or less the Re: Sackbut or trombone? the 16th century with the increasing difference made in the French language. influence of the Italians in French As a French-speaking sackbut and --- Frank W. Bottger culture. But the sackbut is not exactly a trombone player, I would bring an large trumpet, and we know how argument for keeping the name sackbut To the Editor: for the ancestor of the slide trombone. In historically its character and its use have French, the name sacqueboute comes been far from that of the trumpet prior to the 18th century. Then if we can admit RE: "Infantry Bugle Calls of the from the explicit old verbs sacquer (to " by George . that trumpets and trombones belong pull) and bouter (to push) and was then Rabbai, reviewed by Peter Ecklund in adopted in England in its translation, today to the same family, it was not the case in the Medieval, Renaissance, and HBSNL #9. sackbut. So this word is neither an exotic name nor a naughty one, but had been Baroque periods when sackbuts had almost nothing to do with trumpets, apart In regard to the above-cited book review recognized early. In Coriolanus, Shake- from their similarity in construction. by Peter Ecklund, I would like to reply to speare writes: ... The trumpets, sackbuts, Peter Ecklund's questions. psaltries andffes Wake the sun dance... If the differences between the sackbut and the trombone remain, however, "I would like to know why so many of On the other hand, it is maybe rather the the of the Civil War Calls are different term trombone that could be considered difficult to surmount, can we then propose that the sackbut belongs to the from the calls I learned in Boy Scouts --- inadequate because the origin of this which can all be found in John Phillip name is found in the Italian, but ancient icstruments concertante in a dynamic adapted to a relatively intimate Sousa's The Trumpet and Drum, disputable, word trombone (Italian capella while the trombone published in 1886, hardly more than augmentative of the word tromba) and so music or alta gets a more impressive character in the twenty years after the Civil War."

HBS Newsletter, Issue 10, Page 17 I observe the four Boy Scouts of America bugle calls Chart of Com~arableTunes for Bu~leCalls are not in John Phillip Sousa's 1886 book The Trumpet 1940 B.S.A, (1) 1904 U.S.Infantry (2) 1886 U.S.C. (3) and Drum. These four bugle calls are: Scouts' Call, p. 39 ------1. Scouts' Call First Call, p. 39 Call 11 p.208 Call llp. 66 2. Swimming Call Reveille, p. 40 Call 151 p. 212 Call 31 pp. 67-68 3. Call to Quarters Mess Call, p. 40 Call 201 p. 217 Call 71 pp.74-75 4. Church Call Officers' Call, p. 40 Call 251 p. 2 19 Call 171p. 81 To the Colors, p. 41 Call 1 llpp. 210-2 1 1 Call 261 pp 88-89 I suggest that the Boy Scouts of America, incorporated Drill Call, p. 41 Call 51 p. 209 Call 111 p. 77 Assembly, p. 41 Call 91 p. 210 Call 21 p. 67 in 1910, adopted most of their music of bugle calls Recall, p. 41 Call 231 p. 218 Call 131 p. 78 from the latest military training manual, probably: Fatigue, p. 42 Call 281 p. 219 Call 121 pp. 77-78 ------Infantry Drill Regulations, United States Army, Church Call (*), p. 42 Call 221 p. 2 18 Fire Call, p. 42 Call 121 p. 21 1 Call 201 p. 82 Revisited 1904, The War Department, Government Swimming Call, p. 43 ------Printing Office, Washington: 1904, Music of Trumpet Retreat, p. 43 Call 161 pp. 212-213 Call 41 pp. 69-70 Calls: pp. 208 to 233. Call to Quarters, p. 43 Call 181 p. 217 ------Taps, p. 44 Call 191 p. 217 Call 61 p. 74 There are sixteen bugle calls in common: Sick Call, p. 44 Call 211 p. 218 Call 81 p. 75 Tattoo, p. 45 Call 171 pp. 214-216 Call 51 pp. 7 1-73 1. First Call 9. Fatigue 2. Reveille 10. Church Call (*) (The 1886 U.S.M.C. tune of Church Call is the same as the Civil War Infantry tune for Church Call; a new tune was adopted for Church Call in 1896 by the U.S. Cavalry and U.S. and in 3. Mess Call 1 1. Fire Call 1904 by the U.S. Infantry and in 1927 by the U.S. Navy and in 1935 by the U.S. Marine Corps.) 4. Officers' Call 12. Retreat 5. To the Colors 13. Call to Quarters (1) Music andBugling, Edwin S. Tracy, Boy Scouts of America, New York: 193811940, pp. 39-45. (2) Infantry Drill Regulations, United States Amy, Revised 1904, The War Department, Government 6. Drill Call 14. Taps Printing Ofice, Washington: 1904, pp. 208-33. 7. Assembly 15. Sick Call (3) John Philip Sousa, The Trumpet and Drum, New York: Carl Fischer, 1886, pp. 66-102. 8. Recall 16. Tattoo

Swimming Call was probably adopted from the bugle Tune Ancestrv of Bov Scout Bugle Callg calls of the Navy: Ship and Gun Drills, United States 1940 Bov Scouts Navy, 1905, Navy Department, Annapolis: Naval Institute, 1905, p. 452, Call no. 27, "Swimming Call." 1. Scouts' Call ...... Scouts' call was probably adopted from the bugle calls 2. First Call 1834 U.S. Cavalry (Trumpeters' Call) 1835 U.S. Light Infantry of the British Cavalry: Trumpet and Bugle sounds for 3. Reveille 4. Mess Call 1834 U.S. Cavalry (Breakfast Call) the Army with Instructions for the training of Trumpet- 5. Officers' Call 1834 U.S. Cavalry ers and Buglers, War Office, London: His Majesty 's 5. To the Colors 1874 U.S. Army Stationary Office, 1909, p. 93, Field Calls for Cavalry, 7. Drill Call 1841 U.S. Cavalry call no. 22: "March at Ease." The Civil War Bugle 8. Assembly 1825 U.S. Light Infantry Calls of the U.S. Light Infantry were introduced in 9. Recall 1841 U.S. Cavalry (Disperse) 1855, and finally superseding previous bugle calls in 10. Fatigue 1834 U.S. Cavalry (Daily Fatigue Call) 1862, mostly from the French Light Infantry: 1 1. Church Call 1896 U.S. Cavalry & U.S. Artillery . .- 12. Fire Call 1841 U.S. Cavalry (To Arms) Ordonnance du 22 Juillet 1845 sur LExercice et les 13. Swimming Call (U.S.N.: 1884 U.S. Navy (Mess Formation) Manoeuvres des Bataillons de Chasseurs a Pied, 14. Retreat 1841 U.S. Cavalry Ministere de la Guerre, Paris: Cosse et J. Dumaine, 15. Call to Quarters 1896 U.S. Cavalry & U.S. Artillery 1845. Standardization of military bugle calls came in 16. Taps (*) 1835 U.S. Light Infantry (Tattoo, second strain) 1874 for all branches of the U.S. Army, from which 17. Sick Call 1834 U.S. Cavalry (Surgeon's Call) the majority of John Philip Sousa's 1886 U.S.M.C. 1 8. Tattoo: bugle calls originated, excluding, of course, the Tattoo, First Strain 1834 U.S. Cavalry (Tattoo) shipboard bugle calls. Prior to 1874 the U.S. Infantry, Tattoo, Second Strain 18 12 U.S. Light Infantry (Tattoo) U.S. Cavalry, and U.S. Artillery each had their own set (8) (U.S.N.: 1825 U.S. Ship North Carolina (Commodore's Dinner Call) of bugle-call tunes. French Tune Origin of Several Bov Scout Buple Callg For my comparisons, I have referred to the Merit 1940 Bov Scouts From the French Cavalry Badge Pamphlet by Edwin S. Tracy, "Music and 2. First Call 1804 Pour La Reunion des Trompettes David Buhl 4. Mess Call 1766 Boute Charge, First Strain Bugling," cat. no. 3336, New York: Boy Scouts of 5. Officers' Call 1804 L 'Instruction (David Buhl) America, 193811940, pp. 39-45. 9. Recall 1825 Les Corvees (David Buhl) 10. Fatigue 1 804 Les Corvees (David Buhl) Of course, I have purposely omitted much detail for the 14. Retreat 1825 La Retraite (David Buhl) sake of a short reply. Please advise me in regard to 17. Sick Call 1 804 Appel des hommes Consignes (David Buhl) further detailed information about bugle calls. For sake 18. Tattoo, First Strain 1 804 Pour Eteindre les Feux (David Buhl) of clarity, I have enclosed a comparison chart & tune (Emperor Napoleon's Favorite Call) ancestrylorigin charts. From the French Li~htInfantry 3. Reveille I825 Le Reveil ---Randy Rach

HBS Newsletter, Issue 10, Page 18 presumably shortly before Crawshay's E-flat Keyed Bugle: Boston, c. 1840 (1 0-key) Recording death in 1879. This fine piece, Joseph B-flat Keyed Bugle: Stephen Hollamby, Reviews Parry's Tydjl Overture, was presumably Greenhill, London, c. 1 835 (7-key) not played by any other band, although it Solo A-flat Comet: John Wallace, is quite the equal of the best overtures by Distin & Co, London, late 19th C. (Levy Balfe or Reissiger still in the band Model) * The Origin of the Species. The repertoire. Other items show the 1st A-flat Comet: John Miller, Wallace Collection. Nimbus Records consummate skill of the band's resident Courtois, Paris, 1872-78 N15470. Recorded March 20-22, 1995 arrangers and reflect the impressive 2nd A-flat Comet: Roy Bilham, Courtois, Paris, 1859 virtuosity of the original players. The less This recording represents a landmark in tasteful side of the brass band repertoire E-flat/D-flat Saxhorn 1 : Gordon historical brass activity, and brings the Higginbottom, is also represented: the disc concludes Max Hollinger, Wemitzgrm polish of the best American reconstruc- with a Schonheitsfihler (still to be heard tions of mid- 19th century brass music to E-flat/D-flat Saxhorn 2: Phillip Eastop, M. in our generation), a march selection Wolf the more substantial repertoire of British from The Ring that serves Wagner not brass bands. In brief, it is a recording at Solo : Stephen Wick, Gautrot, even as bleeding chunks but as minced Paris the highest professional standard of some meat. of the repertoire of the Cyfarthfa band, 1st Ophicleide: Anthony George, which flourished for over forty years Gautrot, Paris, c. 1860 (in C) Most refreshing is the sparing use of Baritone: Simon Gunton, D. Meinl, Vienna from 1838, using a good approximation vibrato, and better intonation than is of the original instrumentation. : Andrew Fawbert, common for pioneering early-music Fr. Lukavec, Prague, c. 1900 performances, where exploration of Most of the research into the fascinating Tenor Trombone 1 : James Casey, sonorities is often at the expense of Courtois, Paris history of the Cyfarthfa Band that formed accuracy. the basis of this admirable project was Tenor Trombone 2: Trevor Herbert, carried out by Trevor Herbert, and has Higham, Manchester, c. 1890 One suspects that in some cases the Bass Trombone: Ronald Bryans, been published in various journals over instrumentation of the early period is the last ten years. The recording sessions Courtois, Paris (in G) used for later pieces such as The Lost Bombardon: Robin Haggart, were described by John Wallace in the Chord: the may have been HBS Newsletter, #8 (1995): 58-60. Ferdinand0 Roth, Milan, late 19th century made soon after the publication of the F Bass: Philip Parker, song in 1877, but surely the band had Boosey & Co, London, c. 1905 One has to say that the title is rather dropped its keyed by then? curious, since the Cyfarthfa Band cannot B-flat bass: Martin Douglas, However, it is only churlish to quibble Courtois, Paris 1855162 be regarded as the origin of any species. when offered such outstanding keyed- Percussion: Christopher Terien It was a unique ensemble, and at no time brass playing. was it typical of British brass bands, nor It is much to be hoped that this exciting was it as influential in the development The accompanying booklet provides project will continue with further of the movement as, for example, the useful program notes, but omits the recordings from the Cyfarthfa band crack bands of the north of England. As a names of players and details of the books. Also welcome would be to hear private band, as much the property of its instruments used. To give full credit to the Wallace Collection perform some of owner, Robert Crawshay, as the all concerned, I give it here: regimental bands of a previous genera- the arrangements of Swift and Owen with tion had been of army officers, it was an Conductor: Simon Wright the appropriate instruments, equally distant in character from those of ensemble of specially recruited D-flat Primo Bugle: Timothy Hawes, Cyfarthfa and those of today's brass musicians, not a community band for Ahlberg & Ohlsson, Stockholm, c.1890 band. recreational music making. Its instru- D-flat Repiano Bugle: Richard Thomas, mentation changed to the standard Anon., 19th century --- Arnold Myers instrumentation (adopted by most leading B-flat Keyed Bugle: Ralph Dudgeon, bands in the 1870s) only when the band Anon., England, c. 1820lGraves * Gothic Winds. Les Haulz et Les Bas. was in decline early in this century: as Gesine Bhfer and Ian Harrison, shawms, late as 1905, for example, the Cyfarthfa bombards and ; Felix Stricker, Band was still using instruments crooked slide trumpets. Christophorus Digital in D-flat and A-flat. Later than other 77193. Recorded 1996. bands, we do not know exactly when, the (2/Qalla ceTollec tio ?z keyed bugles and were This recording introduces a young group replaced by and of players of exceptional promise. Les playing the same parts. Haulz et Les Bas were founded quite recently, in 1993, and their performances The CD starts with a superb arrangement, have already reached an impressive level and an electrifying performance, of the of depth and maturity. This CD offers a Nabucco Overture. One is immediately wide-ranging sampling of their repertory, aware of the sonority of a strong bass from realizations of dance tunes from the section that distinguishes the British 12th and 13th centuries to elaborate brass band from other all-brass traditions. polyphonic pieces from the late 14th and It includes an original overture written, 15th centuries. perhaps commissioned, for this band,

HBS Newslerrer, Issue 10, Page 19 Felix Stricker, Gesine Banfer, Ian Harrison Liibecker Fronleichnamsaltar, 1491

The ensemble maintains a tight focus on century! Hornist Jeffrey Snedeker has the standard wind band of the late Middle There are, of course, other strengths as programmed a nice set of works, written Ages, as a majority of pieces feature the well. The pitch of the ensemble is ca. 1820-74, that allows him to demon- combination of shawm, bombard, and generally quite good, and the musicians strate his prowess on both the natural and . The musicians do achieve provide an interesting variety of instru- two-valved horn. The disc includes a good bit of variety with duets in mentations and textures. Harrison's style compositions by well-known composers various combinations and with a few is quite dynamic, and the others support Saint-Saens and Rossini, lesser-known forays on bagpipes. Members of the HBS him quite well in his elaborate flights of composers A. Panseron and G. Bordogni, will be particularly interested in the fancy. Stricker's agility, already men- and the renowned horn players L.F. superb playing of Felix Stricker on the tioned, is key. The recording maintains Dauprat and J.F. Gallay. slide trumpet--the ease with which he the spontaneous feel of the live perform- maneuvers about is nothing short of ances of this ensemble -- which means Snedeker and pianist Marilyn Wilbanks, spectacular. All of the players, though, that flaws do creep in. The intonation well known to Historic Brass Society give strong performances. Ian Harrison gets rough from time to time. Subdivi- members for their performances at reveals great drive and flourish on the sions of beats do not always agree, and Amherst Early Brass Festivals, of which shawms and bagpipe. Gesine Bhfer sometimes a musical interpretation Snedeker is an organizer, appear in provides vital grounding in the role of thrown out by one player will be ignored characteristically fine form on this CD. In tenor; her abilities to match pitch and by another. The flaws are very much the terms of balance, the horn clearly domin- rhythm are vital to the success of the exception, however, and the overall ates on much of the recording, but its group. effect is that of splendid, and totally tone is refined, the delivery smooth, and convincing performances. the performance expressive. Ms. Wil- The CD offers two special strengths. The In sum, this is an exceptional CD. For its banks handles the at-times formidable first concerns the repertory, as this repertory and illustrations of performace fortepiano parts admirably. recording makes accessible some land- practice (especially of improvisation and mark instrumental pieces that are simply as a demonstration of the capabilities of The recording opens with L.F. Dauprat's unavailable in any other single source. the slide trumpet) this one should go on Me'lodie pour cor alto et cor basse avec These include pieces of ca. 1400 from the the "must buy" list of anyone interested , Op. 2%. Though Dauprat is Strasbourg manuscript, by the Monk of in instrumental music of the Late Middle probably best known for his Me'thode Salzburg (Das haizt dy trumpet und ist Ages and Renaissance. pour cor alto et cor basse (ca. 1824) his gut zu blasen), Thomas Fabri's Ach --- Keith Polk, University of New compositions show him to be a composer Vlaendere vrie, and the often discussed Humps hire of merit. Written in the 1820s, the but seldom heard Bobik blazen. The Me'lodie is a notable piece in that it is sampling of the dance repertory is * Musique de salon: 19th-Century originally for two horns with piano, extensive. Versions of estampies, such as French Music for Horn and Piano. something not that common in the Chose loyset, may be found elsewhere, Jeffrey Snedeker, natural and early literature for horn and piano during the but the polyphonic versions of the 15th- valved horns, with Marilyn Wilbanks, 19th century. Further, the horns are century French and Italian dance tunes fortepiano, and special guest Richard crooked in different keys, a Cor alto in F are unique. The second strength of this Seraphinoff, natural horn. Independently and a Cor basse in ~b.The work includes set lies in that the group offers versions produced, 1996. Recorded JulyIAugust, rhapsodic, fairly dissonant, and fairly of what Keinhard Strohm has 1995 at Philip Bezanson Recital Hall, extended free sections for a single horn characterized as the "unwritten reper- University of , Amherst. as well as quicker, more rhythmic tory." In this case some aspects of pieces sections that have tuneful melodies with are memorized, others are improvised-- Musique de salon gives one a fascinating much parallel motion for the two horns and it is especially the improvisations, view into the repertory and sound of together. The playing by both hornists, such as the final segment of Quene note, with solo horn during the cor alto player Snedeker, and cor basse that are impressive. Anyone interested in period of transition from the natural to player Richard Seraphinoff, is sensitive performance practice of the 15th century the valved horn in France--an interval as well as assured, and their ensemble is should buy this CD for this aspect alone. comprising essentially the entire 19th good. Differences between open and

HBS Newsletter, Issue 10, Page 20 stopped notes are minimized, except in valve combination that insured that This is a long overdue recording. Johan appropriately dramatic spots, a leading tones would be stopped and tonic Rosenmiiller (1 6 19-84) has suffered from commendable feature of most of the horn notes open, thus creating a sense of the historical oblivion common to many playing on this disc. tension and relaxation between the two. of the German composers who lived in Meifred has not fingered all the notes and the vacuum just after the Thiry Years Saint-Saens' well-known Romance, Op. Snedeker has based his solutions for War (1 6 18-48), the generation between 36 for horn and piano, composed in unfingered notes on the principles in Heinrich Schiitz and Johann Sebastian 1874, is next. Though it is likely that Meifred's Me'thode. The overall effect is a Bach. But in Rosenmiiler's case, the late-1 9th century performances of the more open sound than on the rest of the neglect has been compounded by the Romance took place using the valved disc. Hand stopping is particularly unfortunate circumstances of his life. horn it is equally likely that the work was audible in the third vocalise, an Allegro Early (1655) in what seemed an performed on natural horn, especially vivace by Bordogni. Here one hears exceptionally promising career as a since valved horns were slow to find clearly some of the leading tone church musician in Leipzig and favor in France at this time. In his liner (stopped) to tonic (open) effects that Altenburg, he was arrested and charged notes Snedeker justifies playing the work Snedeker refers to in his notes. with paederasty. He managed to escape on hand horn, hoping it "will be refresh- Bordogni's Allegro vivace is the best of from prison and fled for his life, first to ing." It is, and emerge when the three vocalises and has nice rhythmic , away from the control of the the familiar work is interpreted on the vitality. A bit of biographical information Saxon authorities, and thence to Venice natural horn. on Panseron and Bordogni, both where he worked as a trombonist at San contemporaries of Meifred, would have Marco. Within a couple of years, J.F. Gallay's etudes are fairly well known been welcome. Giulio Bordogni (1 789- however, he began to make a name for to hornists, but his numerous chamber 1856), an Italian, was a singing teacher himself as a composer and ultimately works, such as hisonzidme solo pour cor and composer, and professor at the Paris occupied a privileged position in avecpiano, Op. 52, are only now Conservatoire (where he was a colleague Venetian musical circles. However, he becoming better known, thanks to of Meifred), and Auguste Panseron managed to maintain contacts with recordings like this. Gallay's composi- (1796-1859) was a French singing Germany. Younger composers came tions are effective works, often with teacher and composer active in Paris in from courts to study with him, and heroicldramatic sections that make them the first half of the 19th century. perhaps through them or by direct both fun to play and listen to, and this correspondence, his compositions were work is no exception. The piece is In my opinion Rossini's Pre'lude, thBme brought back and circulated in manu- comprised of numerous sections of et variations pour cor avec piano, script in his native land. Curiously, the varying character, capped with a rousing composed in 1857 for Eugene Vivier sacred compositions survive only in ending. At over eleven minutes the work (182 1- 1900), is the piece that really Germany; none are extant in Venice. weighs in as the lengthiest on the disc. shines on this disc, and it works well on The Solo was composed in the 1840s by hand horn. The work combines lovely This has contributed to his neglect, one of the stars of mid- 19th century horn melodies as well as showy passages, and because these works---mostly motets, playing. Not surprisingly, it employs Wilbanks and Snedeker combine their psalms, and canticles---were composed "sophisticated use of hand-stopping talents to perform with aplomb. Tasteful for the musically important liturgical effects" that, as a hornist, Gallay knew use of vibrato, also found elsewhere on offices of Vespers and Compline which first hand. For example, in a minor the disc, adds warmth to the had been lavishly celebrated in Venice section in D-flat Gallay writes a melody performance. The liner notes are quite from the time of Gabrieli. They were using notes that must all be stopped, thus informative and are happily more tailored to the Catholic liturgy, and for creating a highly effective muted effect. forthcoming about techniques and the saints of the Venetian calendar, but In addition, I found Snedeker employed instruments used than those accompany- had little liturgical appropriateness for nice gradations between open and ing many "historically informed" the Lutheran rite. For them to be useful stopped notes: the open notes, played recordings. This disc is heartily in most of Germany, texts had to be softly, and closed notes, played slightly recommended to hornists of all ilks as altered---sometimes complicating our job louder, evened out the lines. Snedeker well as anyone interested in 19th century of restoring them to their original has also included one of Gallay's music. The recording is available on version. unaccompanied pieces for horn the either CD or cassette for $12.50 and can Grand caprice, Op. 32, no. 12, in which be ordered from Jeffrey Snedeker, 404 N. This recording does precisely that. the shadings available on the hand horn Sampson St., Ellensburg, WA 98926. Lorenz Welker and Peter Wollny have are yet more transparent. --- Thomas Hiebert, California State selected works appropriate to a Marian University, Fresno Vespers for the Feast of the Assumption, Among the most fascinating works on the reset the proper texts, and then added are three vocalises, by A. * Johann Rosenmiiller: Vespro della appropriate chant antiphons. The result is Panseron, and G. Bordogni--taken from beata Vergine. Cantus Colln and glorious. Rosenmiiller is revealed as a Joseph Meifred's Methode pour le cor Concerto Palatino. Konrad Junghtinel, powerfully original composer who chromatique ou a pistons (Paris, 184 1)- director. Harmonia Mundi (France) mastered the concertato compositional that are performed on a two valved-horn 90 16 11.12 (Featuring Bruce Dickey, techniques of Monteverdi and Legrenzi, constructed by R. Seraphinoff. As Doron Sherwin, cornetti; Ole Anderson, but imparted to his setting much more Snedeker explains in the liner notes, Charles Toet, Wim Becu, sackbuts; and vivid musical characterization of text Meifred was interested in combining the Ute Harwich, trumpet.) Recorded phrases, separating them with virtuoso advantages of hand technique with February, 1996. instrumental ritornelli. If anyone valved technique. For example, Meifred wonders where the young Heinrich Ignaz instructed that players should choose a

HBS Newsletter, Issue 10, Page 21 von Biber learned the art of composition, Giovanni Paolo Cima (b. ca. 1571-fl. order seems to have been determined by this is the place. until 1622). Andrea Cima (fl. 1606- 1627) key and instrumental variety. Incidental- Sei Sonate, per instrumenti a due, tre e ly, the order of the first CD has an error Rosenmuller was supposedly famous in quatro (Milan 1610). Francesco Turini in the otherwise exemplary printed his lifetime for his ability to handle large (ca. 1589- 1656). Six Sonatas for 2 booklet. Sonata No. 11 (track 6) is textures, and the works framing this violins & continuo from Madrigali, libro actually Sonata No. 8, and Sonata No. 8 recording provide convincing proof of 11 (Venice 1624). (track 9) is actually Sonata No. 11. Got this. The setting of Psalm 109, Dixit that? Dominus, in B-flat major, and the closing This recording fullfills two important Magnz$cat in C minor, are among the functions. First and foremost, it presents For the record, eight of the eighteen most monumental of his oeuvre. 145 minutes of wonderful pieces by four Fontana sonatas include one or two Likewise, the sonorous Lauda Jerusalem important composers of early 17th- cornetti; both of the Andrea Cima pieces in C-major, in which a solo trumpet adds century Italian instrumental music, of use cornetto and one uses sackbut; two of brilliance, especially in the ritornelli, is which only a few are fairly well known, the four Giovanni Paolo Cima pieces use very magnificent. But the smaller and the rest of which, to the best of my cornetto and one uses sackbut. None of ensemble works, for instance the Marian knowledge, have never before been the Turini pieces use any brass or winds antiphon Regina caeli laetare, with its recorded. Second, it proves that 145 whatsoever. chromatic lines in all parts (including the minutes of early 17th-century Italian winds), are also marvelously beautiful instrumental music need not bore in the As might be expected, the Cima pieces and highly expressive. Rosenmuller was least, if a combination of good have the earliest "feel" to them, simpler justly known in his time in Germany as musicology, imagination, and, of course, in construction, and perhaps most the "Alpha and Omega Musicorum," great playing are put to use to create an directly linked to dance forms. The surely because of his gift for writing outstanding program that keeps the Fontanas, on the other hand, are more wonderful melody lines with vivid listener wondering what the next track complex in construction, and many of harmonization, and his unfailing will sound like. them achieve flights of fancy in the virtuosic sense. writing that still have the ability to The core performers of this recording are bewilder ("Man, what drugs was this guy This performance does full justice to this well known as Trio Sonnerie (Huggett, on when he wrote that piece??!") The excellent project. Konrad Junghiinel Cunningham, Cooper). For the purposes Turinis are on the way to the Fontanas, shows himself to be a skilled, highly of this project, the group has extended but perhaps not as "interesting.'' musical interpreter of this repertory and itself quite a bit with a total of twelve his singers' technical mastery and players. All twelve never play together, The sound can be classed as the pa usual" ensemble sense are beyond reproach. however; the maximum is seven in any from Virgin Veritas -- beautiful, natural, Concerto Palatino's usual excellent brass one piece. Notably, Ensemble Sonnerie a nice live acoustic but not too much. players here are augmented by very fine has added cornetti, sackbut, and dulcian, Hearing a good recording or a live con- musicians on (Ute not only to fulfill the specific needs of cert in a good acoustical setting reminds Harwich), dulcian (Michael McGraw), some of the pieces, but also to lend one of how important the room is to the and strings. The rhythmic precision and variety to the Fontana works which are sound of these early instruments. I had vitality of the playing is amazing; if you published as "Violino Solo", but which the privilege of hearing Bruce Dickey in ever doubted that sacred music could set would have been understood at that time concert with the Ensemble at the your toe tapping, listen to this disc. This to include the cornetto interchangeably, Mannes College of Music's main Concert is a "must-have" recording for anyone provided the range and the writing suited Hall. It is a large room, not unpleasant interested in early brass or seventeenth- it. The continuo section has been greatly sounding, but like so many modem century music. augmented with a variety of keyboards, concert halls, rather dry. Mr. Dickey --- Douglas Kirk , chitarrone or guitar, and . played with his usual brilliance, and Interestingly (and properly), the and sounded good, but I missed what to me is * Fontana, Cima, Turini: Sonatas. dulcian are never used to double the a necessary sense of space and "air" Ensemble Sonnerie: Monica Huggett, basso continuo line throughout any around his sound. Pavlo Beznosiuk, Emilia Benjamin, piece; they are treated as solo instruments Violins; Bruce Dickey, Doron David and used only when the instrumental part A valuable recording that is a must-have Sherwin, cornetti; Frances Eustace, calls for "fagotto" or "violoncino." On for all early music fans! dulcian; Sarah Cunningham, cello; the other hand, virtually every possible --- Dongsok Shin, Mannes College of Stephen Saunders, sackbut; Gary Gooper, combination of the lirone and the other Music , virginals, organ; Elizabeth plucked, fretted, and keyboard Kenny, chitarrone, guitar; Erin Headley, instruments are used as can be played by * Lodovico Viadana:Vespri di San lirone; Siobhan Armstrong, harp. Virgin four performers. Luca. Sylva Pozzer, soprano; Claudio Veritas 7243 5 45 19925 (2 CDs). Cavina, alto; Josep Benet and Miguel Recorded August 1995, St. Jude-on-the- The order of the pieces on the CD does Bernal, tenors; Sergio Foresti, bass; Jean- Hill, Hampstead, London. Co-production not follow the more common practice of Pierre Canihac, cornetto; Gilbert with Westdeutscher Rundfunk, Cologne starting with (say) Fontana Sonata No. 1 Bezzina, violin; Nanneke Schaap, viola (WDR). and going in order through number 18. In da gamba; Vox Hesperia; Coro dell' fact, though the first CD is all Fontana, Accademia Roveretana di Musica Antica; Giovanni Battista Fontana (d. 1630). all eighteen would not fit on one disc, so Romano Vettori, conductor. Fon6 94F09. Sonata a 1, 2, 3 per il violino, o cornetto, they are spread out over the two CDs. US Distributor, Allegro (tel. 800 288- fagotto, chitarone, violoncino o simile The pieces by the Cimas and Turini are 2007. Recorded 1993. altro instrumento (Venice 164 1). all contained on the second CD. The

HBS Newsleller, Issue 10, Page 22 Lodovico Viadana, a Franciscan engaging, with big swaths of chordal instance--Vettorils appeal to post- composer active in Mantua, Rome, and homophony and commanding, straight medieval sources like Guidetto's Cremona, is reasonably well known forward antiphony; these textures Directorium chori does not surprise. It is today as the composer of Cento concerti alternate with sundry duets and trios, all the more regrettable then that the ecclesiastici (1602), a collection of some with ornamental passage work. But descriptive liner notes are in such sorry on sacred texts with basso if engaging initially, it nonetheless may shape. To the good, instrument makers continuo that importantly documents the tire somewhat in the long haul, lacking are given, a bibliography of primary early inroads made into church music by the dramatic touches and virtuosic musical sources is provided, and the the new fashion for solo singing. (Stu- demands of other contemporary works, participation of the various performers dents of performance practice have also and, in general, not given to expansive are charted from piece to piece, but there found much of interest in the preface to musical development. In the context of is regrettably no translation of any of the this collection, in which Viadana offers real liturgy, Viadana's music would sung texts. More conspicuous--and valuable instruction to singer and function admirably--gloriously, I egregious--is the depths to which the continuist alike. See Oliver Strunk, suspect--as a vehicle for "larger things" translation of the program essay seems to Source Readings in Music History, pp. afoot. However, no number of recorded have sunk. One representative example 4 19-423.) chant propers can "ritualize" the CD; the may suffice: context they provide is textual and The concertos of 1602 reveal the musical. Admittedly this is no small [Tlhe execution in four choruses of the composer's facility in writing on an thing, but it is distinctly different from psalms Dixit Dominus and Laudate intimate scale, and, given the essential "liturgical context," and it is liturgical Pueri both in the masculine and importance of monody to la musica context that would show this Vespers feminine cursus has been avoided, nuova, it is no surprise that Viadana's music in its best light. while a version alernatim with solo contribution has been prominently passages in falsobordone has been highlighted in discussions of the emerg- One suspects that it is for this reason that presented, where a supple and exuber- ing Baroque style. However, in an earlier the liturgical substitutions are as ant melody forgives the obviousness of recording, Vespro per 1'Assunzione della generously supplied as they are here. the chords procedure. Beata Vergine (Fone 92F08) and the Various sinfonias and canzonas articulate Vespro di San Luca under review here, the psalms, in one case lasting over twice Fortunately, the music fares much better! Romano Vettori and the Accademia as long as the psalm itself! Several This recording of Viadana's vespers Roveretana di Musica Antiqua have examples are taken from Viadana's music is an important one, in that it focused on the grandeur of Viadana's Sinfonia musicali a otto voci, op. 18 substantially broadens our aural picture 1612 collection, Salmi a quattro chori, (1610). The rollicking balletto, La of this historically significant composer. op. 27, a collection which, like those of Mantovana, a close echo of Gastoldi's A And there is much here that will gratify, Praetorius, Schiitz, and Monteverdi, lieta vita (and thus also of Morley's "Sing as well--especially the high level of vocal harnesses the concertato interplay of solo we and chant it") is rendered with verve and instrumental performance and the and tutti choirs, enriched with instru- and polish, but I wonder if the closeness overall richness of sound. mental color, to splendid ends. to "fa-la-la" here does not undermine -----Steven Plank, Oberlin College vesperal solemnity. The canzona-like La Following the fashion of the past decade Piacentina, though awkwardly *Louis Marchand: Plain-chant Baroque or so, Vettori and company have engineered with "distant" strings and Alternations, featuring Ensemble provided a "liturgical" frame for "close-at-hand" winds, seems nearer to Alternatim, Jean-Paul Fouchecourt Viadana's music--here a Vespers for the the mark, as does the Canzonfrancese in (tenor), Bernard Coudurier (organ), Feast of St. Luke. The feast is well riposta and a version of the Helmut Schmitt (), directed by chosen as it honors the composer's time concerto Fratres ego enim. The Jean-Yves Haymoz. BNL # 1 1285 1AIB. as maestro di cappella at the Franciscan impressive cornett playing of Jean-Pierre Convent of St. Luke in Cremona, in the Canihac is much in evidence, and there is Louis Marchand was a French organist, a first part of the seventeenth century. In much to delight in with his ease in contemporary of Fran~oisCouperin, who the main, the sequence of psalms and passage work and his amiably liquid spent a large part of his career in the Magnificat have been drawn from articulations. Also outstanding among the employ of Louis XIV in the Royal Viadana's 16 12 collection. Chant instrumentalists is the dulcian player, Chapel. He was born in 1669, the third antiphons precede the psalms and Alberto Santi, whose robust tone and generation of a family of organists, and canticle, though they are replaced at vocality is especially memorable as a his output remained focused on liturgical movement's end by solo vocal motets and second bass voice in the psalm Beatus organ music throughout his career. double-choir sinfonias taken from other vir. According to director Jean-Yves Viadana collections, a practice amply Haymoz, it was a custom among familiar today in association with The choral singing is vibrant and rich, organists in France during Marchand's Monteverdi's "Vespers" of 1610, and one the solo singing unflaggingly stylish, lifetime to design their liturgical works as much indebted to the researches of with the elegant singing of soprano Sylva part of a larger tapestry of interlocking Stephen Bonta several decades ago. Pozzer particularly notable in her solo pieces. These segments were conceived motet, Tradent enim vos. With regard to not as isolated works, but as conversants The question of context is an important the chant, Vettori has admirably striven in a dialogue, often between the organ one here, for the Viadana Vespers that for a style far distant from the melliflu- and the choir. Such a collection could Vettori has constructed would likely fare ence of Solesmes and one nearer to comprise a complete mass, and resulted differently in ritual circumstances than it presumed seventeenth-century ideals. in an unusual musical effect, wherein the might do "in concert," as a CD imposes. Given his attention to close detail--chants organ might for example represent a The richness of sound is immediately are introduced by double incipits, for choir of angels and the choir speaking as

HBS Newsletter, Issue 10, Page 23 the voices of believers on earth. These the culmination of his career. The made it less likely that students and alternating segments were often by recording, on two CDs, presents this professional players would explore the different composers. organ at the end of four years of meticu- timbers of the lower comets and trumpets lous restoration, and its seductive sound of the late nineteenth century. The This recording is the result of a colla- perfectly complements the voices. combination of the A cornet's added boration between director Jean-Yves Alternatim, a six-voice male ensemble, length and smaller bore give it a unique Haymoz and organist Bernard Coudurier. produces a clear sound free of vibrato timbre and flexibility that is not possible They endeavored to take Marchand's and distracting ornamentation. The organ to match on modem B-flat instruments extant mass segments and determine performance is faultless. Helmut Schmitt, with wider bore dimensions. which contemporary plainchant playing a Monk instrument, achieves a compositions might dovetail with them fine, penetrating sound which perfectly I like this recording very much. The most effectively. They dispensed with enhances the plainchant. Among existing recording was done as a sabbatical any ideas of creating an authentic serpent recordings, this is perhaps the project of Terry Schwartz, who is marriage between any two contemporary only one to use the instrument in its Associate Professor of Trumpet at works. Understanding that any claim of a primary and intended role. (A close Wheaton College in Wheaton, IL. definitive pairing would probably be met second is the Musifrance recording of Du Schwartz is an excellent player with with controversy, they instead tried to Caurroy's Missa Pro Defunctis with La accurate pitch, an effortless command of provide the mass with "an intensity, Fenice, and Bernard Fourtet on serpent. the high register and multiple tongue complementary and likely environment"; That excellent recording, while using the technique that many players would die in short, their own preferences. Their serpent in a liturgical context, does little (or kill) for. There is a sense of serious efforts succeeded in restoring a certain with it in actual plainchant.) fun about his recording that makes it a purpose and focus to both independent very pleasant listen experience, particu- sources, creating a musical validity The BNL label has no regular distribu- larly for trumpeters and cornetists who greater than the sum of its parts. Their tion outside of Europe, but this recording may be familiar with the challenges of choice for the plain-chant was the is being imported by the Organ Historical the instrument and repertoire. Anne relatively unknown Franqois de LaFeil- Society (OHS) of Richmond, Virginia, as Marshall provides solid and stylistic lCe, who besides authoring the definitive part of their effort to make unusual organ accompaniments. Schwartz' motivation New Method for Perfectly Learning the recordings available. OHS gets $37 for for doing this project originated, in part, Rules of Plainsong and Psalmody, the two CD set, which includes shipping. from fond memories of his first cornet happened to write some music that works 804-353-9226. teacher, John B. Will. Schwartz also well with that of Marchand. --- Paul Schmidt studied with Robert Nagel, John Swallow, Philip Jones, Arnold Jacobs The collaborators have thusly assembled * Levy - Athen: Cornet Solos of Jules and Pierre Thibaud. There is more than a several complete pieces of music, Levy. Terry Schwartz, cornet, and Anne hint of the French style in his playing, including a Mass, Te Deum, Hymn Iste Marshall, piano. Produced by Dasbro specifically in relation to his vibrato. Confessor, Magnijicat pour La Nativite Enterprise, 2760 Grand Concourse, Compare Levy's actual use of vibrato on de Saint Jean- Baptiste, Motet Exultate Bronx, NY 10458. Recorded 1995. the recently released CD, Cornet Solos by Deo, Response Venient and Manus Meas. Pioneer American Recording Artists While Marchand's contribution to the Contents: Yankee Doodle Polka (Young Made prior to 1906. (1 .) The quality of stages of the mass are all drawn from the America) by Levy, The Salute Polka by the original recordings may obscure same body of work, LaFeillee's plain- Levy, Irish Melody: The Last Rose of some of Levy's subtle inflections, but at chants are all from different masses. It is Summer, arr. Levy, Emily Polka by Levy, least in the case of the recordings of The LeFeillee's explicit instruction in his Levy-Athen Polka by Levy, On Music's Merry Birds ( 1903) and Du, Du with mass segments that the serpent should be Softest Pinion by MendelssohnLevy, Variations (1 902), one notes a vibrato used to accompany the plainchant. The Lizzie Valse by Levy, The Best Shot that is vocal, but decidedly slower and serpent is used in most of the smaller Polka by Levy, Carnival of Venice arr. less noticeable than the vibrato employed works as well. Levy, Che far6 senza Euridice by by Schwartz. GluckLevy, Ave Maria by Schubert.1 The recording was made in the Couvent Levy, Una voce poco fa by RossiniLevy, The following comments do not specifi- Royal de Saint-Maximin, using the Casta diva from Norma by BelliniILevy, cally pertain to Schwartz' vibrato (which historic Isnard organ there. It is the The Whirlwind Polka by Levy. is just fine), but since I have this public contribution of this fine instrument that is forum for personal opinion, allow me to the focus of the album, and the reason All the selections from this CD were pull up a soapbox for a short sermon. It is that it was produced by the organ- taken from the J.W.Pepper 1902 edition a common misconception that all 19th- oriented BNL label. This instrument was of The Artist's Studio: A Collection of and early 20th-century comet literature built between 1772 and 1775 by Friar Levy's Cornet Solos. A combination B- should be played with a fast and wide Jean-Esprit Isnard, who credited Joseph flatfA Model No. 5 cornet (with an vibrato in an overtly exaggerated be1 Cavaille as his mentor. His obsession was original "Levy" ) made by canto style. It is my theory that the comet the design of organs that would deliver Courtois in the early 1880s was used for vibrato that is imitated today is more the most on the tightest budgets, and this recording. With the exception of The closely associated with early jazz and although the specification of this Whirlwind Polka and On Music's Softest popular trumpet playing of the early example is rather limited, it is capable of Pinion (which are performed on the B- 1920s than with the early masters of the producing a surprising range of color. flat side), the selections are performed, as solo comet repertoire. To get to the heart Isnard was given complete freedom originally scored, on the cornet in A. The of the cornet vibrato, we need to go to regarding its specification and decora- nearly universal adoption of the B-flat the finest examples of opera and art song tion, and on both counts it is regarded as comet in the late twentieth century has rather than cliche interpretations of

HBS Newsletter, Issue 10, Page 2 4 stereotypes. End of sermon. This brings including Brighton Beach, Manhattan aspects, the artists preparing for a us to a central question of this recording. Beach, and the Philadelphia Centennial recorded performance today have more Is this a "recreation" of the way Jules March. well-informed choices than ever. Levy played this literature, or is it simply Although there have been no less than a celebration of the music itself, based on Professor Schwartz is to be congratulated twelve recordings of L'Orfeo since the Professor Schwartz's own musical for getting this music out to the brass late 1930s, until now no American group instincts and expressive ideas? community. One of the benefits of CD has recorded it. Billed as the "first Aesthetically, I think it works best as the technology is that it affords the oppor- American recording of Monteverdi's latter. tunity to provide a booklet of notes with operatic masterpiece," ARTEK's version the package. With an esoteric project shows promise in its sense of vitality and We have a great deal of information such as this, I would have welcomed creativity. ARTEK's director, Gwendolyn about Levy. He was heavily promoted as more biographical information and "lore" Toth, stated in the liner notes that "our the greatest comet player of all time. on Levy. There should be a copyright intention was not to recreate the ultimate Born in London in 1838, he appeared to and performance-right indication on the historical performance of Orfeo . ... Being have been largely self-taught, but he did packaging as well as a company name or creative is still an important part of benefit from mentoring by the great a distributor so that people will be able to making music; putting all my energy ophicleide player, Samuel Hughes. After order the recording. The CD is stamped towards recreating somebody else's creating a sensation on London stages, he "KLRTY-28 10." While I'm being picky, creativity is less interesting to me." This came to the USA for his debut at the it would be useful to have the selections is not to say that ARTEK does not pay Boston Music Hall in 1865. He alternated numbered with timings. These little attention to details of historic perform- performing in Europe and the USA and details help make the recording more ance. On the contrary, each performer was booked for a notable twenty-month attractive to the consumer and to disc used the facsimile of the 1615 print to engagement at the Russian court which jockeys who may wish to play this very examine as closely as possible the was the inspiration for his Grand Russian worthy recording on the air. It appears musical text as Monteverdi might have Fantasy. He appeared in Philadelphia in that the recording can be ordered directly intended it. This use of the facsimile 1876, where he performed daily for the from Professor Terry Schwartz, Wheaton demonstrates the group's ambition to Centennial Exposition. The following College, Department of Music, 501 E. perform this masterpiece as a living year, he toured Australia and the Seminary Avenue, Wheaton, IL 60 167, musical event instead of recreating a Hawaiian Islands. After these tours, he USA. dead relic from the past. returned to the USA, recording for the = - North American Phonograph Company, Notes Since Monteverdi wrote nothing for Edison, Columbia, Berliner, Emerson, 1. Various Artists, Cornet Solos by autonomous instrumental ensembles and Pathe and the Victor Talking Machine Pioneer American Recording Artists only sparingly for instruments combined Co. Unfortunately, the many recordings Made prior to 1906 (International with voices and continuo as well, brass that he made were, for the most part, Trumpet Guild Historical Series, ITG players have only large works such as done when he was past his musical 004, 1995). L'Orfeo and the Vespers in which to prime, had a set of false teeth, and was 2. I am grateful to Dr. Patricia Backhaus participate. For this reason, I will first even suffering from emphysema! He died for permission to summarize this focus upon the short ritornelli, sinfoniae, in Chicago in 1903. (2.) biographical information on Levy and opening toccata which involve the from her typescript of Cornet Projiles, use of brass instruments, and I will It is precisely because we know so much a work in progress. compare some of the decisions made for about Levy that a recording project like this performance to those of the most --- Ralph Dudgeon, Professor of Music, this can become more complex than one recent CD releases of the same work, State University of New York College at would initially imagine. For example, namely the John Elliot Gardiner (1987) Cortland. which instrument and mouthpiece would and the Philip Pickett (1992). a modem performer choose? Levy-model * Claudio Monteverdi: L 'Orfeo. were not only made by Courtois The opening toccata on the ARTEK ARTEK, Gwendolyn Toth, Director. as mentioned above, but also by Oliver release is played by cornetts and sackbuts Includes Michael Collver and Douglas and Henry Distin, Keefer, W. Seefeldt, instead of the common practice of using Kirk, cornetti; Eric Anderson and Karen C.G. Conn, and Lyon & Healy. One muted trumpets. It is recorded in such a Hansen, alto trombones; Mack Ramsey could easily assemble an entire collection way that you can hear the group start and Tom Zajac, tenor trombones; and of dozens of mouthpieces that were from off stage, perform center-stage on Daniel Green, bass trombone. Lyrichord stamped "J. Levy Model" made by a the first repeat, and then exit on the last Early Music Series, LEMS 9002 (2CD's). variety of makers. Finally, there is the repeat. The tempo is a slower, more Recorded November 1993 at St. Mary sheer volume of Levy's repertoire to majestic speed than that of the Pickett or the Virgin Church, New York City. contend with. He was a prolific arranger. Gardiner. The articulation of the cornetto The collection that this recording used is also less varied than most recordings, Since the first modem staged perform- contained forty-seven solos. Another giving each note an equal amount of ance of Monteverdi's L'Orfeo by the collection titled Leisure Hours (Boston: stress. Overall, however, the use of French composer Vincent d'Indy in 191 1, Cundy-Bettoney) contains over a hun- cornetts and sackbuts is convincing and composers, performers, conductors, and dred solos. He published a comet method well done. musicologists alike have all contributed (Lyon & Healy) and over thirty other to a growing knowledge of this now individually published solo pieces were Act 111 moves from the Fields of Thrace well-accepted work. With no less than brought to press by J. W. Pepper, Oliver to the famous Underworld scene where twenty modern editions of this work, and Ditson, Carl Fischer, and Lyon & Healy. Orfeo must retrieve his beloved Euridice. countless scholarly articles and books He penned several fine marches, The opening sinfonia is played here by examining particular performance

HBS Newsletter, Issue 10, Page 25 cornetts, sackbuts, and regal, at written time through this Fourth Act sinfonia has alone. In these cases, there might be a pitch. While Phillip Pickett believes that some very nice ornamentation, the choir of sackbuts with a single singer. the high clefs used by Monteverdi in the sinfonia lacks the same sense of direction printed edition calls for a transposition as that from the Third Act. The recording quality of this CD is top- down a fourth or fifth (Gardiner notch. An important aspect of the transposes also), this recording keeps the While these sections of L'Orfeo are performance of polychoral music such as written pitch and as a consequence, important to brass players, a review of this is being able to distinguish between produces a less somber sound. The this CD would be incomplete if the the separate choirs. This is easy to do in a balance is a bit offset by the sackbuts vocalists were not mentioned at least in church or concert hall, but has been a (although it is a wonderfully full and rich brief. While there was nothing less than detail too often missed in some modern sound) which makes it difficult at times wonderful singing on this disc, Jeffrey recordings. This recording does not to hear the ornamentation by the cornetts. Thomas, who sings the lead role, does a ignore such a detail and supplies the While Gardiner and Pickett repeat this wonderful job conveying the emotion listener with a sonic representation as if sinfonia, ARTEK plays it only once. and energy of Orfeo, although I think the the listener was there. They achieve this 'Possente Sprito' aria did plod along a bit. by recording the group in stereo with one The next entrance by the sackbuts was an Dana Hanchard also did a wonderful job of the two main choirs panned right and unexpected one. The short sinfonia just with the roles of both Euridice and La the other to the left. The recording before the famous Possente spirto is Musica. It seems that the chorus was quality is so good, however, that I could performed by a consort of sackbuts recorded too close to the microphone often hear pages turning, but this was not instead of the strings. This same sinfonia because chorus parts lack the ambience really distracting enough to be occurs again later in Act I11 in which the of the wonderful hall that the rest of the bothersome. printed edition instructs a performance recording possessed. by strings. Most recordings today use Les Sacqueboutiers de Toulouse really strings in the first instance as well. Overall, this recording certainly is of the do a fine job with their task at hand. It is Choosing which group to play the same quality as those from across the certainly refreshing to hear the brass sinfonia's first entrance depends upon Atlantic. It captures a vivacious adding ornaments when doubling the whether you view the sinfonia as still performance of a well-known work and voices. The cornetts especially do a nice representing the underworld (which should be on everyone's list of "must of job of this, varying the type of caden- generally signifies sackbuts), or Orfeo's have's." tial ornamentation that they use, never lira, hence the violin band. In any case, --- Benjamin D. Pringle, University of being predictable or monotonous. I only ARTEK has given the sinfonia to the California, Santa Barbara wish that the singers on the recording sackbuts, along with the regal, to show would have added more ornamentation, their exposed expressive side without the * Heinrich Schlitz: Les Psaurnes de especially at cadence points where it aid of cornetts. The sackbuts do a really David. Ensemble Vocal Sagittarius, Les really needed it. This exquisitely nice job here, shaping the line with Sacqueboutiers de Toulouse, and executed ornamentation can be heard on crescendos and decrescendos that give Ensemble Variations; Michel LaplCnie, the first track, Der Herr sprach zu the sinfonia a forward moving direction. director. Jean-Pierre Canihac, Jean meinem Herren, where the cornett and Imbert, cornetts; Bernard Fourtet, Daniel violin often trade off ornaments. The best The cornetto parts in "Possente Spirito" Lassalle, Jean-Maire Bonche, sackbuts; exposed brass playing on this recording are performed well with a variety of Serge Tizac, natural trumpet. Accord is on the second CD, track 4, Alleluia! articulations for each of the cornetto 205582 (2 CDs). Recorded March, 1996 Lobet den Herren. Here, as mentioned echoes. The cornetts really shine on the at 1'Abbaye de Fontrevaud, France. earlier, the brass are exposed by Schiitz duet at the end of stanza. Here the same marking the line for "cornetto" or sense of line heard earlier in the sackbut This two-CD set presents Heinrich "trombone" without text underlay. On sinfonia is present with smooth, yet Schiitz's Psalms ofDavid in their this track the cornetts really shine with varied articulations. This duet is probably entirety. In 1619, soon after returning their virtuosic ornaments, executed with the most graceful playing executed by the from his first visit to Venice to study the greatest of ease. In the next solo cornettos on this CD. with Giovanni Gabrieli, Schiitz published section, the trombones do a great job of this grand (in every sense of the word) supporting the solo singers, blending At the end of Act Three, just before the collection of polychoral Psalm settings. well with a wonderful velvet sound that Choro di spiriti infernali enter, the These pieces, while owing much to the only such an instrument can produce. cornetti, sackbuts, and regal play the style of Gabrieli (as well as that of The next solo section alternates between same sinfonia as the beginning of the act. Praetorius), are certainly some of cornett and violin, again displaying both The chorus then sings without the brass Schiitz's best work. Any group who instruments' virtuosity to the highest doubling the lines (as Pickett's recording wishes to present these works well potential. Even when the brass are simply does). The sinfonia then returns with certainly has their hands full. This doubling the voices, they do a wonderful some inventive ornamentation by the particular group of musicians does a job of filling out the sound as well as brass. great job. adding a wonderful touch to the overall style of the group. At the end of Act Four, another similar This collection is an important part of orchestration is given. Here again the any early brass player's repertoire (for Although the performance of some of brass play a sinfonia, the chorus sings, cornettists and sackbutists, anyway). In these psalms loses the sense of direction and the sinfonia is heard again. This most of the psalms, the brass doubles the that one is used to hearing, these sinfonia, a bit darker in overall sound, is vocal lines. But in several cases, Schiitz instances are rare. Some of the best tracks executed less musically then the sinfonia suggests giving several lines to brass concerning overall style, tempo, and at the end of Act Three. While the second pacing are Wohl dem, der nicht wandelt;

HBS Newsletter, Issue 10, Page 26 Nicht uns Herr; and Danket dem Herren. belong to the cornetto and which belong music takes the listener through stories Overall, these performers do a wonderful to the trumpet. There is also doubt as to that include an account of Dracula in job of conveying the deeply spiritual whether the work calls for one or two Heidelberg by the singer and composer quality of these Psalms. Unfortunately, trombones. In the aria Chi mi scorge ad Michel Beheim (1416-1476 or 1478), the CD liner notes only have the text in Anfitrite the indication con un trombone various instrumental groupings, and solo its original German and a French solo is given, while in the introductory organ and works. Of special note is translation, making it a bit more difficult symphony of the second part there is the Ein gutes nerrisch tentzlein by Caspar for the non-German1 French speaking indication, Bassi con tromboni suonino. Othmayr (15 15-1 553), with superior listener to easily understand the text. This The question regarding the use of the cornett playing by Ian Harrison. Mr. CD should certainly be on the shelf of trombone as a part of the basso contino is Harrison's fine renditions may be heard any early brass enthusiast, as well as still open. The fine musicians of the on various other tracks throughout this anyone who likes a great German Carnerata Ligure do a wonderful job of album, always with a lovely, warm composer writing in the style of presenting a beautiful performance of lyrical sound. All of the consort and Giovanni Gabrieli. this unjustly neglected work. vocalists give first-rate performances. --- Benjamin D. Pringle, University of --- Rinaldo Pellizzari California, Santa Barbara The pieces in Fricasse'es lyonnaises, * Ich ruhm dich Heidelberg: Musik der from approximately the same time, were * "I1 Barcheggio" Serenata a tre con Renaissance am Kurpfalzischen Hof published by Jacques Moderne (fl. 1526- strumenti by Alessandro Stradella. (Renaissance Music at the Court in 1560). These pieces represent the Camerata Ligure, Esteban Velardi, Heidelberg). I Ciarlatani, including Ian convergence of several forces: the Director, with Paolo Fanciullacci, Harrison, cornett. Christophorus CHR invention of music printing, in which cornetto; Ermes Giussani, trombone; 77 184. Available from Musicontact Moderne was a major force; the Francesco Grigolo, natural trumpet. GmbH, Heuauerweg 2 1,69124 patronage by powerful Florentine Bongiovanni BGV 2 102103-2. Recorded Heidelberg, Germany. Recorded in 1993, families of the arts and publishing; and 1990. copyright 1996. the flourishing of the new Lyonese school of poetry, which produced poems I1 Barcheggio was composed by Alessan- * Fricasskes lyonnaises (Lyonnese that composers used for their chansons. dro Stradella (1 644- 168 1) in 1681, only a "Fricass6es"). Ensemble Doulce As the title of the CD implies, this is a few months before his tragic death, for memoire, directed by Denis Raisin- mixed bag of compositions taken from the marriage of Carlo Spinola and Paola Dadre. Includes Jean-Paul Boury, various collections that Moderne Bringnole. The couple were from two cornett, and Franck Poitrineau, sackbut. published in Lyon during his career. All aristocratic families who commissioned Auvidis, E 8567. Recorded 1995, of the vocal works on this CD are in the work as an intergral part of the copyright 1996. French, but several of the works are by wedding festivities. The name Barcheg- Italian composers, and originally includ- gio (from barca=boat) is derived from the These two CDs represent music from the ed Italian words. This is an upbeat and fact that it was performed in the harbor of same time period, and similar ensembles. enthusiatic recording, which makes it Genoa. A series of boats were floating in The Ich ruhm dich Heidelberg... offers an very easy to listen to. The instrumental a pattern that created a crown, the uncommon selection of troubadour-style pieces on this recording, for lack of a performers being in the center. This music from a source we don't often iden- better term, really "swing." This is in part recording is from a live performance tify with this format: a German court. due to the percussionists, who are presented in Genoa, July 3rd, 1990. Both The Fricasse'es lyonnaises, on the other marvelous, but it is clear that all of the of the existing manuscripts (Modena and hand, brings together a sampling of instrumentalists are having a very good Turin) were used in preparation of this music from another single source: the time with this music. The cornett and production. The author of the libretto is printing press of Jacques Moderne. Both sackbut play more of an accompaniment unknown and it is a typical mythological of them are worth seeking out. role on this recording than the cornett story that celebrates the virtues of Carlo - does on the one above, but the ensemble and Paola. It is divided into two main Ich ruhm dich Heidelberg ... is a fine is quite good. Jean-Paul Boury, on parts, including three symphonies, for a collection of Renaissance music similar cornett, plays beautiful flowing lines total of twenty two pieces. to that of the troubadours and trouvbes interwoven throughout this music. of France, originally composed and --- Eva Marie Heater There is no doubt that I1 Barcheggio very performed by musicians in the Court in clearly exemplifies the character for Heidelberg. This music was composed * L 'Art du Cornet h Pistons (The Art of which it was written. The use of the for and by the court musicians, who in the Cornet)--Thierry Caens and the orchestra creates a magnificent color addition to their duties in the chapel, also Woodwind Quintet of Lyon, with album using a full complement of instruments composed and performed secular music. notes by Jean-Pierre Mathez. Arion ARN including violins, gambas, cello, double The performing group on this album, I 60267. Available from Arion Records, 36 bass, trumpet, cornetto, trombone, theor- Ciarlatani ("The Charlatans") consider avenue Hoche, 75008 Paris, France. boylute, , organ and regal. themselves late descendants of the The trumpet writing is very difficult and "Ziarlatini," improvisational artists who This album issues (or reissues) a fine the cornetto and trombone are also used performed in the tradition of medieval 1982 recording featuring Thierry Caens very effectively. It is interesting to note wandering minstrels. It is wonderful to on cornet accompanied by the Woodwind that the use of .these instruments is see a group such as this continue this Quintet of Lyon. Arion Records has specifically indicated. The interplay entertaining performing medium and released or planned to release a number between the trumpet and cornetto is repertory. This is a fine and interesting of dedicated to what might be somewhat ambiguous. Indications in the album, well-performed and -presented. called vernacular instruments--the lute, manuscripts make it unclear which lines This collection of songs and instrumental the , the hunting horn, the bagpipe,

HBS Newslener, Issue 10, Page 27 the Celtic harp, the , and the small groups can play orchestral scores Of the ten late 16th and early 17th- hurdy-gurdy, among others. Because of without distressing results. century solo works on the CD, Hamada's its origins and repertoire, the cornet cornett is featured on six and he is the definitely belongs with this family of Thierry Caens's cornet playing is recorder soloist on Dario Castello's instruments. In an excellent commentary uniformly brilliant from the first to the Sonata prima ( 1644). Thus, he joins the in the CD booklet, Jean-Pierre Mathez last note of the CD. While the perform- ranks of Dickey, Tubery, Sherwin, and observes: ance of the woodwind quintet is West, whose recent solo cornett record- exemplary, there is on this album ings have been discussed in these pages. "The works left behind by the great sometimes a rather odd juxtaposition of Hamada more than holds his own in that virtuoso cornetists must be consid- Classical and Romantic interpretation, or fancy company. His playing is flawless, ered as providing a sort of link "aristocratic" and "bourgeois" if you're achieving a full and smooth tone, between folk music, which was then still a Marxist. There are moments when impeccable intonation and dazzling on the way out, and highbrow music. one longs for a trace of vulgarity or ornamention. It is an advanced form of popular excess. Perhaps the problem is inherent music." in the rather sober sonic vocabulary of a Hamada seems to strive for a personal woodwind quintet, although Caens's musical approach to this repertoire, and The selections on this CD are almost arrangements can be reminiscent of a happily, succeeds. He plays both a entirely from the popular 19th century and can almost sound like cornetto and mute cornett by Serge cornet repertoire. Some were composed an accordion in certain orchestrations. Of Delmas and, for this listener, it is by the great virtuosi of the epoch. course, most listeners will take delight in Hamada's sound that is most impressive. (Perhaps since they were cornetists, not the refinement of the playing. The music He has a lovely vocal approach in which trumpeters, they are not "virtuosi" on this CD is expressive, melodic, and his velvety warm tone is put it to glorious but"virtuosos"). The album begins with decorative, and sounds good at any use. His personal stamp is quite effective Arban's Variations on The Carnival of degree of aural attentiveness. on Frescobaldi's Canzon detta la Venice and closes with Herbert L. Clark's Bernadina. Particularly interesting is his The Southern Cross. Other works from The selections on this album would make slow and casual approach to the the cornetists are Alexandre Petit's a good program for a woodwind quintet descending sixteenth-note passages at the Gouttes d'eau and Arban's Fantaisie on with guest cornet soloist. The arrange- end of the last Allegro section. Often Bizet's Carmen and his Cavatine on ments are published by ~ditionsVivartis, performed at a break-neck speed Rossini's Barber ofseville. Cliopatra, a probably in France, and may be currently Hamada's more relaxed playing helps fine piece with just a hint of Massenet, available. create even more tension in the very last was composed by Eugene Damare, a --Peter Ecklund piano-forte licks at the very end of the flutist in Arban's orchestra. The work. Believe me, he can play fast when remaining selections are Zelda by the * I1 Chiostro Manieristico Ensemble he wants to! His mute cornetto literally Australian cornetist Percy Code and a Anthonello: cornetto and recorder cries in a long flowing improvisational version of Offenbach's Lettre de la Yoshimichi Hamada, viola da gamba; reading of Bovicelli's (1 594) passaggi on Pirichole. Thierry Caens plays the Kaori Ishikawa, cembalo; Marie Palestrina's lo son ferito ahi lasso. He Offenbach melody on a , Nishiyama. Cookie & Bear C&B knows how to make the line interesting which in this recording has a sonority #0000 1. Recorded May 5-6. 1996. [order with subtle shifts of tension, and at times resembling a cornet in A. All other pieces from: Yoshimichi Hamada, 3-1 0-23 it sounds like in one of his are played on a cornet, but we do not Sendayi, Bunkyo-ky, Toykyo 1 13 Japan. most lyrical improvisations. This solo know if it is the magnificent and luscious Price: 2800 yen. cornetto repertoire is among the most 1895 Couesnon from the collection of demading in the literature, and Hamada Jean-Michel Gauffriau, which is almost This CD, independently produced by the performs it flawlessly with absolute pornographically reproduced in the CD wonderful ensemble Anthonello, displays clarity of attack. Cima's Sonata per il booklet's centerfold. the outstanding cornetto virtuosity of Violino, and Sonata per il Cornetto Yoshimichi Hamada, who is ably (1 61 O), Giovanni Bassano's divisions on All of the compositions and arrange- supported by his two colleagues Kaori Crequillon's Oncques amour (1 585), and ments have been adapted for woodwind Ishiawa and Marie Nisiyama. Cabezon's Au joy bois (1578) round out quintet by Thierry Caens. This is the cornetto showcase. certainly an interesting and novel presentation--music like this is most Yoshimichi Hamada is a double-threat often heard with piano accompaniment or man, giving a beautiful reading of in arrangements for concert band or brass Castello's Sonata prima ( 1644) on the band. I do not know if there is a recorder. Keyboardist Marie Nishyama is historical precedent for this or if consid- featured on two toccatas, one by Picchi erations of "authenticity" really matter and the other by Giovanni Salvatore. here, since the music clearly succeeds on Gambist Kaori Ishikawa is given the solo its own terms. However, it's a fair guess stage with Barolomeo de Selma y that in the 19th century music "of the Salaverde's divisions on Lasso's Susanna people" or at least "of the bourgeoisie", Passegiata (1638). Those works are was played by whatever combinations beautifully performed and the players all were available and effective. Surviving work together effectively as sensitive printed arrangements of popular music ensemble members. They perform at from the late 19th century have so much A=440 and, as is now the standard for doubling and so many cued parts that Ensemble Anthonello this repertoire, employ mean-tone

HBS Newsletter, Issue 10, Page 28 temperament. This CD is a most Weber's Concertino, reportedly first qualities of stopped notes. The result is welcome addition to the small but composed around 1806 and later revised, very forceful, soloistic playing with a growing number of recordings that has long been a benchmark for technique consistent tone color and clean technique. feature solo cornetto. We hope that the and range for horn players, in both The prelude is a bit fast for my taste, but limited distribution of an independantly modern and historical instrument circles. does set up a jaunty approach to theme produced recording won't prevent For years, it was difficult for players of very well. McDonald chooses to honor cornetto enthusiasts from obtaining a modern instruments (even those who all of the marked repeats and early on fantastic CD. crook their valved horns into E) to offers a bit of nuance and variety ---Jeffrey Nussbaum believe that "the Weber" could have been between repeated sections. As the performed well on a natural instrument. variations progress, however, this variety * W. A. Mozart Flotenkonzert KK 314, With Tony Halstead's landmark on the repeats disappears as we are Sinfonia concertante KK 2978, C recording with the Hanover Band a few treated to significant technical Weber Concertino, Op. 45, for horn and years ago, this myth was dissolved and accomplishment. McDonald's recitative1 orchestra. Wiener Akademie, Martin players have come to discover that many cadenza covers a full range of colors and Haselbock, director. Hector McDonald, of the trickier passages (especially with dynamics, and his embellished multi- natural horn; Christian Gurtner, ; awkward valve combinations when phonics are very impressive. The final Pier Luigi Fabretti, ; Eleanor transposing from horn in F) actually lay polacca is an impressive run to the finish. Froelich, bassoon. Novalis 150 113-2. very well on the valveless instrument. McDonald presents a remarkable and Recorded in Vienna, February 1995. While the piece has lost some of its convincing rendition of this challenging mystique, it has lost none of its reputaion work. This compact disc presents an enjoyable for being one of the most technically program, featuring two prominent difficult pieces of its time. My only qualm is one of personal performers based in Vienna, and a very preference: I prefer a more "operatic" pleasant-sounding orchestra. Christian Equally difficult in the history of the approach, with more dramatic push and Gurtner is an Austrian native who has piece and its performance has been how pull, and more variety in shading, specialized in Baroque flute since 1981, to present it musically. Some players articulation and dynamics, especially on and Hector McDonald, originally from view the prelude, the set of variations, the softer side. There is no denying, Australia, has lived in Vienna since the recitativelcadenza, and the polacca as however, that McDonald's choices are joining the Vienna Symphony Orchestra primarily technical means to an expres- purposeful, credible and presented as solo horn in 1989. Both present sive end. The result in that case is usually convincingly. It is certainly a viable convincing performances on this disc. a quicker, jauntier tempo, particularly as approach to this work and worthy of the variations unfold, which can back the consideration. This recording as a whole The Mozart works on this recording are Less-experienced performer into some presents all of the performers in a very especially appealing. Gurtner seems quite uncomfortable musical corners as the positive light. The liner notes by Gurtner comfortable with KV 3 14. The blend and relative rhythmic speed accelerates. are brief but informative, and are balance are generally good, though Unfortunately, in this case the distraction presented in German, English and occasionally the orchestra covers some of of the technical demands can also French. I recommend this recording the soloist's nuances. I was especially influence the speed and character of the whole-heartedly, especially to those who impressed with the wind colors in this prelude and recitativelcadenza; one can are developing ideas for their own performance-- a solid foundation for the be left feeling unsettled as players seem performances of any of these works. strings. Having played in the orchestra to hurry through these slower sections, ---Jeffrey L. Snedeker, Central for this work and its oboe version in C trying to get through them rather than Washington University major, I find the flute version more taking a little time to enjoy them. The satisfying to play and to hear, and this expressive end that is reached is one * G.M. Cesare: Melodie Per Voci et performance does not disappoint. which impresses by technical display Instrumenti (1 62 1). Les Sacqueboutiers rather than one that moves. The de Toulouse: Jean-Pierre Canihac, The Sinfonia concertante is especially alternative, of course, is to take a more Phillippe Matharel, cornetts; Daniel impressive in clarity and blend among "operatic" approach, encouraging more Lassalle, sackbut; Bernard Fourtet, the soloists. The work has a notorious dramatic contrast between sections and sackbut and serpent; Jan Willem Jansen, past, commissioned by Parisian impre- even variations. When done well, this organ and harpsichord; guest musicians: sario Legros and intended for three approach encourages an experience for Jean Tubery, Marie Garnier, cornetts; Mannheim court members (Wendling, the performer and listener that exists Stefan Legee, Nicolas Valade, sackbuts; Ramm, Ritter) and famous horn soloist moment by moment and focuses more on Charles-Edouard Fantin, chitarrone and Punto. The work disappeared for a time, the progression of musical ideas than ; Brigit Taiibl, Gunar Letzbor, and when it reappeared, some intrigue technique. It also can fit well with many Lorenz Dufschmid, violins; Christine still remained regarding its authenticity. of Weber's general style characteristics Pluhar, harp; vocal soloists: Guillementte The version used here is by Robert and apparent expressive goals. In the Laurens, Marie-Claude Valin, sopranos; Levin, which is authoritative in terms of hands of a less-capable performer, Jean-Louis Comoretto, Jean-Yves research and musical construction. All however, the piece can become another Guerry, altos; John Elwes, Bruno Botterf, four soloists demonstrate very clean case of audience boredom through tenors; Bernard Fabre-Garrus, Yves technique and play exceptionally well performer self-indulgence. Berge, basses.. Accord 205 532. together. They handle the intricacies of Recorded 1996. the individual parts with great refinement Hector McDonald provides us with and control. For me, this was the most something of a compromise between This recent recording is a spectatular enjoyable work on the recording. these two approaches. His approach is effort by the noted French cornett and very aggressive, bringing out the brassier sackbut group Les Sacqueboutiers de

HBS Newsletter, Issue 10, Page 29 Toulouse. An Italian cornetto virtuoso, Canihac, is breathtaking. The skills of Catalan musicologist Josep Maria Giovanni Marinio Cesare (1 590- 1667) guest cornettist Jean Tubery are well Gregori has shown that the Cancionero served in the Bavarian court at Munich known to HBS members, but this de Uppsala (so-called because the only during the first quarter of the 17th recording has introduced us to a new surviving copy of that 1556 Scoto print century and as his well known collection cornetto talent to be reckoned with, was found to be housed in the university of 162 1, Musicali Melodie, establishes Marie Grenier. Through an unfortunate library there in 1909) is in fact a legacy him as a musician of great talent. oversight, Grenier's name was not on the from the mid-sixteenth century court of list of musicians, but she performs with the Duke of Calabria in Valencia, . Canihac on La Fenice, Benedicam This is a very significant finding because Dominum, La Ionnina and La Monachina almost nothing else survives of the and matches her former teacher with musical repertory from this important beautiful tone, control, and articulations. cultural center.

The often mentioned remark that the In the sixteenth century, Valencia freely cornetto was the instrument closest to exchanged music, artisans, and com- that of the human voice is ably demon- merce with Spanish-controlled Naples, strated here. Pieces such as Jubilate Deo and its singers and instrumentalists, when and Bendicam Dominum give the they chose to emigrate, were welcomed performers ample opportunity to make by such musical establishments as the that historical dictum a present day Papal Chapel, the Spanish royal chapel, reality. The trombonists (performing on and prestigious cathedral chapels around Meinl sackbuts) have taken a cue from the peninsula. In addition, two of its the cornettists and play with fluid, light native sons from the Borgia family and delicate articulations. Beata es Virgo became Popes - the second of whom, is one notable example where the Alexander VI (r. 1492- 1503), was sackbuts give a particularly expressive probably the most debauched Pope in the Les Sacqueboutiers de Toulouse reading. Bernard Fourtet covers the bass history of the institution. More part with his Meinl& Lauber bass positively, Valencia was known in the This collection is important for brass sackbut and doubles the basso coninuo sixteenth century, as it is today, as a great players not only because it contains La with serpent on 0 Domine Jesu Christe. brass-playing center. Even through the Hieronyma, the first known solo piece The serpent is barely discernable on that great inflationary economic decline in the expressly written for trombone, but also piece and it's a shame that it wasn't used seventeenth century, when virtually all contains some of the most splendid brass a bit more, particularly since Fourtet is other cathedrals in Spain were reducing writing of the period. All twenty-eight one of the greatest virtuosos of that the size of their instrumental groups and pieces of the collection are beautifully instrument. seeing ever more difficulty in recruiting recorded here in their entirety. Having good brass players, Valencia Cathedral the complete collection is not only La Hieronyma, one of the great vechicles maintained its wind band at eight- the advantageous from a pedagogical for the trombone soloist, is gorgeously largest outside the royal chapel. perspective, but also helps the listener performed by Daniel Lassalle. He achieve a full sense of Cesare as a handily mannages the sixteenth-note The Uppsala songbook (retitled here El composer. passages and ornaments the cadential canqoner de Duc de Calabria) consists of figures with great skill and taste, yet fifty-four works of three, four, and five The only complete copy of the collection never forgetting the vocal underpinnings parts, with text, twelve of them is to be found in the Bischofliche Zen- of the music, delicately shaping the line. Christmas carols (the Duke's favorite tralbibliothek Universitgtsbibliothek in It is a beautiful reading of a masterful season). Until Professor Gregori's work, Regensburg. It contains fourteen sacred and important trombone piece. The the composer of only one of the works concertos for one to five voices and instrumental works all tend to be was known, however, that being Nicolas basso continuo and fourteen instrumental extremely demanding. Works such as La Gombert, the choirmaster of the Emperor pieces of one to six parts with basso Vittoria, La Monachina La Ioannina and Charles V. (That Gombert villancico, continuo. Unlike some other early 17th- Ecco are all in the "in your dreams" "Dezilde a1 cavallero," was recorded by century composers, Cesare is quite clear category, but the members of Les Jordi Savall and Hesperion XX on their on how to approach the orchestration of Sacqueboutiers de Toulouse perform 1984 disc, "Renaissance Music in his music. The parts with text are to be them with remarkable clarity, historical Naples, 1442- 1556," EM1 Reflexe 1C sung and those without text have instru- intellegence, and musicality. 067 143629 1.) Now several other mental indications. Other music of this composers have been identified, includ- period--for example, Riccio's Delle --Jeffrey Nussbaum ing Francisco Guerrero, Cristobal de Divine Lodi Mlusicali (1 621)--has text in Morales, Mateu Flexta, and Bartomeu all the parts with the exception of the * El Canqoner del Due de Calabria: Chrceres. basso continuo book, and this opens 1526-1554. La Capella Reial de Cata- more questions as to when and how to lunya, Jordi Savall, director (including The collection is of course primarily use instruments. Les Sacqueboutiers Jean-Pierre Canihac, cornetto, and Daniel vocal repertory, and the singers of the follows Cesare's directives and the result Lassalle and Stefan Legee, sackbuts). Capella Reial does full justice to them. is fantastic. They perform at A=440, AstrCe E 8582. Recorded 1995. Montserrat Figueras is in fine form and is employ meantone temperament, and use surrounded by excellent voices in all historic articulations throughout. The This is a most interesting recording. In parts, including two young sopranos who elaborate ornamentation, particularly on recent research, summarized very blend so well with her that one might the part of first cornettist Jean-Pierre informatively in the booklet notes, the

HBS Newsletter, Issue 10, Page 30 think them clones. Fans of Jordi Savall's has consisted primarily of Italian music, and cometto, which is quite effective in other cancionero recordings with this but they have recorded some English and creating a vocal texture. He also performs group or with Hesperion XX will French material on their 1993 disc, on track 9 Nel be1 giardino che IYdige, recognize his approach to the repertory: Speculum amoris (Arcana A 20). In the another madrigal by . solos by Montserrat or the solo-voiced studio this ensemble has not been vocal ensemble, usually accompanied by reluctant to augment themselves with I am happy to recommend another of La choirs of bowed and plucked stringed other musicians to great effect. For this Reverdie's recordings for anyone inter- instruments and a group of mixed wind particular recording of northern Italian ested in adding some beautifully and instruments, including the sweet-toned music, they have retained the services of intelligently recreated to cornett of Jean-Pierre Canihac. Claudio Pasetto () and, of special their collection. This disc also provides interest to this readership, Mauro Morini some attempts at incorporating brass This kaleidoscopic timbral approach and his Callegari tromba da tirarsi. In a instruments into medieval music, an area works very well with these pieces, which previous review (HBS Newsletter no. 9) I with only spotty successes. I look if performed straight and unadorned extolled the musicianship and perform- forward to this group's next effort. would last only a minute or two. It also ance-practice choices of this group, and --- Michael O'Connor, Florida State seems very faithful to the period, since this new recording reveals no changes to University these were doubtless intended as courtly the well-considered instrumental choices entertainment for people used to more and highly polished performances. La * Gems of Brass, Union Brass Company. than a two-minute "sound bite." Proof of Reverdie relies on first-rate musicianship Produced by Humbolt State University, this can be seen in the extended length of and an apparent familiarity with the Acradia, CA. #785735. Gil Cline, the famous "ensaladas" of Mateu Flexta, repertoire instead of gimmicks and new- trumpet, comet, natural trumpet, a composer now known to have been in age medievalism for their success. One of cornetto; Chris Johnson, trumpet; Val Valencia at about the time the Uppsala the finest performances on the recording Phillips, horn; Dan Aldag, trombone; songbook was compiled, and who is enemics, which features only Fred Tempas, tuba. Recorded 1996. composed some of the works contained Elisabetta and Ella de'Mircovich (voices in it, three of which are recorded here. and harp). The performance is interesting This recording is privately produced by Jordi Savall and Hesperion XX recorded thoughout its nine and one-half minutes. Humbolt State University, where mem- Flexta's ensaladas a few years ago bers of the Union Brass Company are in (Astree E 7742), and so in a sense the The subject matter for this recording is residence. The recording is not commer- present recording builds upon that disc in the diversity of art and music that was cially available, but serves as a restoring Valencian musical patrimony. created or brought to the areas of Italy recruiting-awareness effort for prospec- north of the Apennines (suso in Italia). tive students, making them aware of the If solos by Montserrat and renditions by This part of the peninsula has always brass program, which seems to be the vocal ensemble, such as the very exhibited a social and artistic closeness growing in scope and interest in early touching Ay luna que reluzes and Con with its northern neighbors, and the brass. The bulk of the program is for que la lavare' understandably occupy music of this recording provides some modem , which is occasion- center stage in this project, nevertheless examples that relationship. The sources ally augmented for large brass ensemble the winds and strings are given moments for the music are from such diverse with supporting instrumentalists, to shine. The winds lend their admirable places as London, Paris, Venice, Beme performing a selection of modem works efforts to Flexta's Que farem del pobre and Faenza. No one composer dominates and arrangements for Baroque and Joan and Teresica hermana, and the the repertoire, but there are several Renaissance pieces. Gil Cline makes the lively curtain-closer, the anonymous selections from Jacopo da Bologna. The foray into historic brass with cornetto on Falai meus olhos. diversity of the region is seen in the a Speer Sonata and some rather pretty languages encountered on this recording. playing on his David Edwards copy of a Even if very few musical sources survive While most are in Italian, there are Harris (1715) natural trumpet. There is from sixteenth century Valencia, this examples of French, German, and Latin an interesting union of natural trumpet recording is eloquent testimony to the texts as well. joined by modem brass on an arrange- quality of the music once heard there and ment of the Mouret Rondeau. Cline we can be grateful to Professor Gregori, The brass instruments are featured on performs natural trumpet on selections Jordi Savall, and La Capella Reial de three of the seventeen tracks and the from Purcell's Indian Queen and also Catalunya for their re-creation of it. tromba da tirarsi is heard only on track gives an impressive reading of the Torelli --- Douglas Kirk, McGill University 13, Marchetto da Padova's Ave corpus Sonata in D (G.1). The modern works are sanctum from the fourteenth century. expertly and expressively played. We * Suso in Ztalia bella: Musique dans les Morini does a commendable job of hope that Humbolt State University cours el cloitres de 1'Italie du Nord. La blending with the three voices and his continues to expand their efforts in Reverdie. Arcana A 38. Recorded at the instrument is very sackbut-like in tone including early brass in their program. quality. Cornettist Doron David Sherwin Benedictine Abbey of Sesto a1 Reghena, --- Jeffrey Nussbaum 18-22 April 1995. Co-produced by is also a vocalist with the group and his I mute cornetto playing is a mirror of his Arcana and Westdeutscher Rundfunk *Music of the Reformation. Mitglieder fine singing voice. I was particularly (WDR) Koln. ders Dresdner Kreuzchores, Hans Gruss, pleased to see that his playing is featured Director, with Capella Fidicinia. Berlin a bit more on this recording, but I was The medieval group La Reverdie is the Classics #0091192. Recorded 198111982. collaborative effort of the sisters Caffagni also glad that it wasn't overdone. Track 8 is Sherwin's interpretation of Jacopo's (Claudia and Livia) and detMircovich While this CD was recorded some time madrigal 0 in Italiafelice Liguria. He (Elisabetta and Ella) along with cornettist ago, it has not been noticed in these has voiced the work with only recorder Doron David Sherwin. Their discography pages and will be of interest. While the

HBS Newsle//er, Issue 10, Page 31 brass players of Capella Fidicinia play a Occasional florid, clarino-style lines are bad, of my performances to my listening. small supportive role, they are given a combined with passages clearly intended After I managed to clear my head of that number of featured spots, including some for acoustical support, which are typical "baggage," I could not help but be lively works by Johann Walter. The of Haydn's symphonic writing. Of impressed with the ease and confidence cornettists are Andreas Voigt, Heiner particular interest is the first Cassation Koster and his colleagues, violinist Vera Ullmann, and Helmut Katschner. The with four horns, discovered by H.C. Beths and cellist Anner Bylsma, exude. trombonists in the group are Gerhard Robbins Landon (who wrote the program In Variation 11, he even has the audacity Essbach, Gerhard Weissenborn, and notes for this recording) in Prague in to actually SLOW DOWN on the way up Frank Beyer. Ullmann also doubles on 1959. Reminiscent of Haydn's Symphony to the high F--and yes, it works natural trumpet, which he plays on an No. 3 1, "Horn Signal," the work is very musically, too! interestingly scored work by Walter, elegant and features the horns Beati immaculati, a motet composed for throughout, calling for little hand- All in all, while this recording has all the the opening of the chapel of Hartenfels stopping , and using many hunting-style technical flair anyone could want, my castle. This double CD set presents flourishes. The divertimenti follow a strongest favorable response was to the twenty two choral pieces by some of the similar vein, except with two horns, and musical selections as a whole. This is outstanding musical voices of the take on a more chamber-oriented style. simply a very pleasant, charming Reformation including Martin Luther, The horns have a bit less to do in these recording of very nice music played by Johann Walter, Thomas Muntzer, Georg pieces, providing some timbral variety, sensitive musicians who seem to care Forster, Caspar Othmaryr, and Josquin but mostly in supporting roles. Koster about what they are playing. Koster is, as Desprez. and Bonet-Manrique blend well and usual, outstanding both technically and --- Jeffrey Nussbaum balance the smaller string forces very musically, and the teamwork with his nicely. other hornists (particularly Bonet- * Haydn, The Natural Horn. Ab Koster, Manrique) is very gratifying. L'Archibu- natural horn, L'Archibudelli, with John The solo concerto included here is also delli is also very interesting in its own 1 Abberger and Alayne Leslie, oboes, and an early work, composed in 1762 as an right. The recording quality has a very Javier Bonet-Manrique, Christoph "installation piece" for the newly hired live feel, with an engaging reverberation Moinan, and Stefan Blonk, horns. SONY Joseph Leutgeb, who later was Mozart's and excellent balance (at least for a horn Vivarte SK 68253, recorded in Lutherse inspiration for his horn concertos. The player's ears...). As the archives of Kerk, Haarlem, The Netherlands, May piece mixes typical "second" horn recorded natural horn repertoire continue I 25-28, 1995. Cassation in D major for writing in the outer movements with to grow, this recording sets a few stand- four horns, violin, viola and bass; some lyrical "high" horn writing in the ards both in terms of performance, but Divertimento in E-flat major for two slow movement. Also interesting in this more notably as an enjoyable and varied horns and (Hob. I1:21); context are the choices Haydn makes program from top to bottom. Concerto in D major for horn, two oboes regarding stopped notes - about twenty --- Jeffrey Snedeker, Central Washington and strings (Hob. VIId:3); Divertimento a years before Mozart's compositions, they University I tre in E-flat major for horn, violin, and seem simpler and oriented more to violoncello (Hob. IV:5); Divertimento in melodies and harmonies emphasizing English Music from Henry VIII to D major for two horns and string quartet open notes. Still a product of its time, the Charles 11, His Majesty's Sagbutts and (Hob. II:22). concerto demands a different type of Cornetts. Hyperion CDA 66894. virtuosity; "low" and "high" horn charac- Recorded, 1996. 1 All of the works on this recording were teristics are combined, creating a transi- composed by Haydn before 1770. This tional stylistic quality and demanding a This disc contains music from almost the simple fact lends a very interesting certain well-rounded-ness. Koster is entire period during which the cornett/ perspective to them, both individually masterful in his control and musicality trombone ensemble may have been active and as a collection. What is heard while meeting these demands. His sound in England. The earliest pieces are some provides very important information is always round and clear, and his basse danses attributed to Henry VIII, the about Haydn's perspectives on the horn confident tone in the high range is very latest a set of pieces by Matthew Locke during a time that was essentially reassuring. His hand technique is so which includes the famous work from transitional for the horn in terms of smooth that the color shifts are not which this ensemble takes its name. Only playing technique and compositional distracting, but actually enhance the two English works from this entire style. The playing techniques required musical content (as they should!). The period specify the cornett/sackbut for these pieces involve both hand- sensitive phrasing in the slow movement, ensemble, but this need not be an stopping and flexibility through all without overdoing or forcing the sound, indicator of the frequency with which ranges. From a compositional standpoint, is especially satisfling. this grouping was actually used. [Indeed, we are presented with some old and some there are a number of pieces for which new ideas. Clearly, Haydn had learned Of primary interest to me, however, is the this grouping seems obvious.] Since the about "first" (or "high") and "second" (or rendition of the Divertimento a tre, long balanced sonority of cornetts and "low") divisions of labor, and at the same a benchmark of "intestinal fortitude" and trombones was common in many parts of time, he wrote to take advantage of the "high chops." Dated 1767, the piece is mainland Europe from the early Tudor talents of the specialists in each area. more recent than the concerto, yet is period until after the Restoration, it is clearly written as a testimonial to the unlikely that it found no favor in The divertimenti and the cassation older, clarino range of Carl Franz, England. This selection therefore included on this recording are examples Haydn's first horn at the time. Having provides an interesting, and to a large of charming chamber music, with idio- performed this piece numerous times on extent convincing, speculation on what matic lines that combine elements of the both modern and historical instruments, I the English repertory for this line-up stereotypical past with clues to the future. brought many memories, both good and might have been.

HBS Newslel~er,Issue 10, Page 32 included on this disc, the Locke set is the I particularly enjoyed the Tudor music on only source in which cornetts and trom- the disc. This repertory waned in popul- bones are indicated in the notated music. arity some years ago, and it is good to see [( otherEnglish pieces labeled for sackbut it receiving expert and sensitive treatment or cornett also have other instruments or, here. The players are Jeremy West and do not specify cornetts and trombones) David Staff (cornetts), and Susan but collections such as Coleman's 5 Partt Addison, Peter Bassano, Paul Nieman Things ffor Cornetts leave little to the and Stephen Saunders (trombones), with editorial imagination.]. The British Timothy Roberts (organ) and Raphael Library source for the Locke pieces Mivaki (percussion). This group is now includes more movements than are one of the longest established and most carried in several modern editions of the respected ensembles of its kind in the Music for His Majesty's Sagbutts and world. The playing throughout is Cornetts . Fifteen years or so ago, I asked excellent, and in parts -- particularly the the late Professor Michael Tilmouth, the delicate long-line playing of West and distinguished Locke scholar, whether Staff --quite exceptional. The disc is other pieces in the British Library important because of the comprehensive autograph source (Lbl Add. 17801), way in which the Locke pieces are His Majesty's Sagbutts and Cornetts which are not so labeled, could also be presented. It is enjoyable for many more for trombones and cornetts. He thought reasons. that they certainly weren't, but he did not --- Trevor Herbert The Matthew Locke set is important tell me why. The performances of them because here we have clear and specific here, in editions by the group's organist, evidence of the idiom being used by the Timothy Roberts, convince me that these composer. Indeed, leaving aside some extra pieces may well have been for movements from John Adson's Courtly cornetts and trombones. Masqueing Ayres (161 5) which are not

-- HBS Summer Activities

The Historic Society in cooperation with Also The Royal Academy of Music and The Open University Historic Brass Society Presents Study Session: Contexts For Brass: History, Performance and Culture A One-Day Colloquium: Historic Brass Research and Performance -- at the International Musicological Society's Wed. Aug. 13th, 1997 16th International Congress Royal Academy of Music, London , London with Tues. Aug. 19th, 1997 4:30-6:00 PM Clifford Bevan, Stewart Carter, Richard Cheetham, Ralph Dudgeon, John Ginger, Trevor Herbert, Herbert Heyde, Tess with Knighton, Ken Kreitner, Hugh Macdonald, Jeremy Montagu, Stewart Carter, Trevor Herbert, Keith Polk, Arnold Myers, Jeffrey Nussbaum, Andrew Parrott, Keith Polk, Richard Middleton, Jeff Nussbaum, Rob Wegman Curtis Price, Crispian Steele-Perkins, John Wallace, Jeremy West, Simon Wills

HBS 13th Annual Early Brass Festival lndiana University School of Music For further details and registration information Bloomington, Indiana USA for these activities, see pages 47-5 1 July 11-13,1997 Lectures, concerts, playing sessions, instr~~mentmakers exhibition

Special BBC Filming

HBS Newsletter, Issue 10, Page 33 depth, there are other more wide- natural horn are oriented to under- reaching and thought-provoking ele- standing structure and tendencies in Book ments. For example, Reynolds mentions technical and musical terms, which any Reviews memorization and singing quite frequent- hornist should consider. At the root of all ly as means to musical mastery. These of his discusson, however, is the author's are subjects that provoke much disagree- belief that being a musician is more than * The Horn Handbook, by Verne ment among players, and it is nice to hear just technical and musical terms - it is a Reynolds. Portland, Oregon: Amadeus such an authoritative voice speak so way of being that demands physical, Press, 1997. 254 pp. $33.95 hardcover. clearly in favor of these elements of emotional, and psychological preparation ISBN 1-57467-0 16-6. Amadeus Press, musical training and music-making. and coordination. Amen. 133 S.W. Second Avenue, Suite 450, --- Jeffrey L. Snedeker, Central Portland, OR 97204-3527; tel. 503-227- There are other parts of this handbook Washington University 2878, fax 503-227-3070. E-mail: that are unique. Reynolds discusses at [email protected]. some length the difficulties and strategies * First Philharmonic: A History ofthe of tuning, especially to an instrument of Royal Philharmonic, by Cyril Ehrlich. For many years, Verne Reynolds has fixed pitch (i.e., a piano). He also Oxford: Clarendon, 1995. ISBN 0- 19- been one of the foremost figures in the expresses many general thoughts about 816232-4. 307 pp. horn world. As Professor of Horn at the preparing and performing recitals, the Eastman School of Music, he has value of chamber music, and insights into The economic historian Cyril Ehrlich is produced not only many successful wind and brass quintet playing, including one of a small group of world-class students but many important composi- ensemble etiquette and rehearsal scholars who have made a decisive tions for the horn as well. His varied and strategies. I also found his chapter on contribution to musicology-and indeed, extensive background as a teacher, teaching the horn to be filled with jewels music-from the perspective of another composer, and performer has resulted in - a wealth of perspectives, tools, discipline. The thing that makes Ehrlich's unique insights into the horn, its practice, philosophies, and approaches that are work special is that he really knows and its literature. Finally, Mr. Reynolds well worth the time of both teachers and music. He is a talented musician and has has put these insights on paper, and the students. an accurate sense of how musicians result is a very useful, attractive resource work, how they have worked, and the for hornists, whether oriented to modem This handbook is clearly not intended for diverse contexts that shape their or historical instruments. The larger historical insight and offers little practi- priorities. He has written three other sections of this book include discussions cal information related specifically to major books that are widely acclaimed as of practice, etudes, playing with a piano, natural horn playing. Still, no explana- classics: The Piano: A History important sonatas, concertos, and tions are necessary. Reynolds does what (1976R90) is now a standard text; The chamber music, and teaching the horn. he sets out to do, and does it well. He Music Profession in England since the does not, however, ignore or avoid the Eighteenth Century (1985R88) is the The section on practice includes many natural horn. He does say that students most complete study of British musical important perspectives on rationale and must learn about different historical life available; and Harmonious Alliance process. As a teacher, one of my styles and points out that the natural horn (1 989) is the official history of one of the perennial challenges is how to introduce can provide useful perspective in that most important British musical the concept (and act!) of practice to area (page 3 1). He also recommends institutions, The Performing Right students who may not have received . consideration of the capabilities of the Society. Each of these books share much guidance in this area. Reynolds natural horn when beginning to compose features that are characteristic of uses a lifetime of experience to describe a cadenza for a Mozart concerto (page Ehrlich's work: they are rich in detail-- the art of practicing with undeniable 145), and says of Brahms' use of the particularly primary source evidence-- clarity. The result is, in my opinion, natural horn in the Horn Trio (Op. 40), and they expose economic, institutional, required reading for all aspiring musi- that his "predilection for the natural horn commercial, and other structures that go cians - it answers not just what and why, can be seen as part of his conviction that some way to explain the conditions in but how. music is a historical community" (page which music has been made. 205). As far as the works Reynolds The sections on etudes and solo discusses, the information he offers for First Philharmonic is the history of The repertoire provide insights that are the Beethoven Op. 17 sonata, the Brahms Royal Philharmonic Society, which was equally keen. Reynolds gives the reader a trio, and Mozart's concertos and horn formed in London in 1827 to create a guided tour through Kopprasch, Maxime- quintet provide invaluable musical platform for serious musicians to Alphonse, and his own 48 Etudes, as well insight and perspective, but are of limited perform. It still survives, and since its as brief descriptions of several other technical value for the natural hornist. foundation has been one of the most recommended technical studies. The influential forces in British concert life. same is true for many solo pieces as well; Verne Reynolds is clearly a lover of As usual, Ehrlich's sources are eclectic, what the discussions lack in historical music and the modern horn. In this book, but particularly important is a large description is made up for in practical he provides insights and perspectives that collection of manuscript documents information. I was quite taken with the will inevitably help any musician. While relevant to his subject which are kept at discussion of the Mozart concertos, Mr. Reynolds' experiences regarding the the British Library and known as "Loan especially his example of how to natural horn appear to be somewhat 48." He has been through these compose a cadenza that is stylistically limited, this does not diminish the manuscripts in fine detail, and in so consistent with the given material. While fundamental value of what he has to say. doing has both drawn out a considerable these discussions are, to my knowledge, The insights into literature relevant to the body of information and demonstrated the first ever published to go into such the importance of the source.

HBS Newsle//er,Issue 10, Page 34 In plotting the story of the Society, the also presented interesting brass informa- performance movement has promoted. book also plots the history of the tion in her essay, "The Recorder Revival Lasocki counters this argument with the condition of concert life in London in the in Late Seventeenth-Century Spain." notion that the role of the recorder was period and the changing tastes and Tom Moonen's article "Research into the actually larger than Kuijken indicated fashions that impinged on the lives of the Measuring of Historical Woodwind because of the well known dictum that music makers. It is an enormously Instruments" has implications for brass one can play the music on " all sorts of important source for anyone interested in and organological concerns, and presents instruments," as well as some historical the development of the orchestra and its a stimulating view into the nitty-gritty examples of performers playing "arrange- canon since the 19' century. Appendices world of micrometers, gauges, and other ments" of works not specifically to the book in clear tabular form give a instruments used to measure historic indicated for recorder. Lasocki also cites list of performed works which illustrate instruments. It is a shame that he didn't Richard Taruskin's well known view that the evolution of the repertoire, and list comment on Philip Drinker's article, any hope of presenting an historically the names of members of Philharmonic "The Application of Non-invasive accurate performance is doomed because orchestras and their instruments from Acoustic Measurements to the Design, any performances by 20th-century musi- 1860-1960. It will surely be impossible Manufacture, and Reproduction of Brass cians will always be 20th-century for anyone making a study of Wind Instruments" (HBSJ vol. 5, 1993). performances, not a 17th-century one. instrumental performance in London in Drinker's approach to measuring old the last 200 years to ignore this book. instruments accurately without the The newest and most important research --- Trevor Herbert possibility of damage seems to be an in a field is often documented in a ideal solution to many of the problems proceedings of an international sympos- * The Recorder in the Seventeenth Moonen mentions. It is perplexing why ium. It is fitting that the last article in this Century: Proceedings of the his work has not been more widely Proceedings volume is a thoughtful essay International Recorder Symposium, discussed among museum conservators by David Lasocki, "Gaps in our Utrecht 1993. David Lasocki, Editor. and organologists. Knowledge of the Recorder in the STIMU Foundation for Historical Seventeenth Century and How They Performance Practice, Utrecht 1995. 300 Both Ruth van Baak Griffioen and Could be Filled." Not only does he pages. ISBN 90-72786-06-8. Thiemo Wind contributed articles on outline many of the important develop- Jacob van Eyck and his famous Der ments in the study of recorder music and This important volume presents fourteen Fluyten Lust-hof: Wind's piece was history, but he also explains much of the articles by a diverse and distinguished particularly intriguing, but one definitely nature of knowledge and scholarly group of scholars and performers, and has to, as my fifth-grade teacher would discourse itself. He bemoans the apparent represents some of the most recent and say, "put on your thinking cap," before lack of awareness of recent research significant research not only on topics fully digesting his meaning. He presents activities by many writers of recorder related to the recorder, but to many other a thorough but complicated analysis topics. Lasocki does much more than topics related to 17th-century music. showing why van Eyck's famous work of complain about this problem. He has Although this Proceedings concerns tunes and variations are real composi- embarked on a series of extensive recorder studies, as one would obviously tions rather than improvisations in the bibliographic studies that aim to close expect, it will also be of interest to those Italian passaggi tradition. Van Eyck's those gaps of knowledge. The HBS is, of interested in brass music, organology, works are equated with Sweelinck's course, extremely fortunate to benefit iconography, instrument making, keyboard compositions and Nicolas from David Lasocki's energies in his restoration and conservation, ornamenta- Vallet's works for the lute. Quite annual "Bibliography of Early Brass tion, and general performance-practice stimulating work. Equally thought- Writings" in The Historic Brass Society issues. provoking and equally cerebral is Patricia Journal. His plea for a more open forum Ranum's essay on Hotteterre's tonguing for debate and discussion of scholarly These essays, most of which were syllables. According to Ranum, his ideas is admirable and, indeed, one to presented at the 1993 International articulations are based on the phrasing, which the HBS is also dedicated. One Recorder Symposium in Utrecht, are declamation, rhetoric and structure of the looking for healthy guidelines for outlined in four main sections: History; French language and models of 17th- scholarly discourse need not go further Instrument and Iconography; Repertoire; century French poetry. Also included in than this essay. The articles in this and Performance Practice and Research: the Proceedings is an essay by the noted Proceedings volume follow many of Past and Future. Peter Van Heyghen's virtuoso Barthold Kuijken and his those guidelines and all musicians paper, "The Recorder in Italian Music, ensuing debate with David Lasocki, interested in recorder studies or in 17th- 1600-1670," is particularly relevant for conducted in a series of correspondences. century music will find it to be an brass musicians, as his essay focuses not I find it refreshing that Lasocki, as editor important resource. only on recorder but has much informa- of the publication, chose to embrace this --- Jeflrey Nussbaum tion about cornetto and early trombone. dialogue and give it a public forum. The Brass repertoire, theoretical and perform- central issues certainly warrant such * The Wind Ensemble and Its ance treatises, pitch standards, exposure and the repartbe is stimulating Repertoire: Essays on the Fortieth transpositions, and other performance and carried out in a friendly and Anniversary of the Eastrnan Wind practice issues are addressed. Of notable respectful tone. Kuijken argues that Ensemble, edited by Frank J. Cipolla and interest is his discussion on the use of the public, professional recorder Donald Hunsberger. Rochester, NY: in northern regions and the performances that include arrangements University of Rochester Press, 1994. paucity of references to this instrument in of early music, as well as 17th-century ISBN 1-878822-46-2. 3 12 pp. Italian sources. Van Heyghen also points repertoire not written for that instrument, out that the same is true for the soprano do not serve the music in the best sense This book contains essays that celebrate recorder in c. Beryl Kenyon de Pascual that the "historically informed" the fortieth anniversary of the Eastman

HBS Newsleller, Issue 10, Page 35 Wind Ensemble. It is divided into three Byrne's "Sousa Marches: Principles for discussing classical musicians who sets of studies. The first two, "The Wind Historically Informed Performance." undergo a training that does not particu- Band: Origins and Heritage" and larly value individual idiosyncrasies. "Studies on the Repertoire," will be of This is a particularly well-presented interest to members of the Historic Brass book, and even though the quality of The classical brass players include many Society. But as the book pays homage to contributions is variable, the whole forms of the legends of the field such as Adolph one of the most influential wind bands in an excellent source for the wind Herseth, Hany Glantz, Adolf Scherbaum, the world and its distinguished conduc- ensemble and its repertory. Dennis Brain, Bany Tuckwell, Christian tor, Frederick Fennell, it can be said that --- Trevor Herbert Lindberg, William Bell, Roger Bobo, and other parts of the book (especially the Arnold Jacobs. The strength of this book detailed appendices) are likely to become * Twentieth-Century Brass Soloists, by is with this group since biographical an important primary source for the study Michael Meckna. Greenwood Press, 88 information about many of even the most of the Eastman Wind Ensemble. Post Road, Box 5007, Westport, CT famous of these brass players is not 0688 1. Tel. 203 226-357 1. ISBN 0-3 13- always available. Reading the bios of the Raoul Camus' chapter, "The Early 26468-6. 344 pp. Published 1994. greats is not only informative but often American Wind Band: Hautboys, $79.50. amusing. Unfortunately there is little Harmonies and Janissaries," gives an information regarding soloists on interesting account of the relationship In the preface to his book, Michael historical brass instruments. Only a few between the European and American Meckna points out that brass performers are listed and they are Don Smithers, traditions, and has a particularly have received short shrift in many Edward Tarr, Hermann Baumann, Lowell interesting--and by my reckoning, a musical reference books, and even in a Greer, and a few legendary soloists of the rational and entirely sound analysis--of number of monographs on brass music, brass-band era, such as Herbert L. Clarke the tempi of early band marches. Jon the history of the instruments and music and Arthur Pryor. This gap is certainly Newsom's "The American Brass Band is given the leading focus. Twentieth- unfortunate, since the early brass field Movement in the Mid-Nineteenth Century Brass Soloists, with nearly 100 has so many world-class soloists active Century" is valuable for the generous biographical entries, is a nice start to today performing on cornetto, serpent, primary source quotations, but I found filling the gap in brass performer sackbut, ophicleide and other keyed some of the assumptions about the information. Four categories of brass, as well as many other natural origins of British brass bands a little terse instrumentaTsts are listed; trumpet- trumpeters and natural hornists. The and potentially misleading. Most ers/cornetists, hornists, trombonists, and bibliography also portayed a lack of misleading of all is the sub-heading tuba/euphonium players. About half of awarness of the early brass field. While "English Influence." Presumably the entries are jazz or popular music Twentieth-Century Brass Soloists offers a Newsom means "British influence." If he musicians and the others are classical good start at highlighting the activities of does, he should say so, and if he doesn't, players and in spite of the title of this the most main-stream brass soloists, he is wrong, because much of the most work, few are "soloists" in the usual perhaps it might best serve as a spring- potent evidence for the origin of meaning of the term as applied to a board for a more detailed and broader Victorian brass bands is found not in Horowitz or Heifetz. Brass players had to study of brass performers. England but in Wales. Indeed, while meet or exceed certain criteria for --- Jeffrey Nuss baum much of the most important activity was inclusion in the book. In order to be in England, brass bands were never included in the book, performers had to * Horn & Conductor: Reminiscences of regarded as an English phenomenon. The have had an international reputation, had a Practitioner with a Few Words of movement tended to follow a social solo careers, recorded frequently, and Advice, by Harold Meek. Rochester, NY: rather than national demography across made significant contributions to their University of Rochester Press, 1997. the United Kingdom. Thus south Wales, field. Paperback, 115 pp. ISBN 1-878822-83- the southern urban belt of Scotland, and 7. University of Rochester Press, 34-36 parts of England were the main places This work is a compendium of biogra- Administration Building, University of where brass bands developed. However, phical entries of many of the most Rochester, Rochester, New York 14627. it would be churlish to dismiss the notable brass soloists. The jazz musicians chapter on the grounds of this error. It is are primarily luminaries who are well Harold Meek has been an important an interesting account of the American documented in many other sources, figure in the horn world for quite some brass band movement which I enjoyed including players such as Dizzy time. His experiences include many years reading. Gillespie, Miles Davis, Clifford Brown, with the Boston Symphony Orchestra J.J. Johnson, , Tommy and other orchestras, under the batons of Robert E. Sheldon's "Before the Brass Dorsey, Bunny Berrigan, Bix Beider- such "larger-than-life" figures as Fritz Band: Trumpet Ensemble Works by becke, and many others. Each entry has Reiner, Serge Koussevitsky, Leopold Kiiffner and Lossau" is also interesting, biographical information about the Stokowski, and Pierre Monteux. He was particularly for its views on performance player's life, education, and career, as also one of the founding members of the style. There is also an excellent account well as a selected discography and biblio- International Horn Society and served as of some sources of band music kept at graphy. Brief comments on some aspect the first editor of The Horn Call. This the Library of Congress. of playing style are provided. Sometimes book consists of anecdotes and advice to the comments are so general and limited musicians, primarily horn players, from a Other chapters of interest to historic brass that they leave the reader with little practicing musician's perspective. scholars include Michael Votta's chapter understanding of the real essence of the Included in it are brief and concise "'s Trauermusick, WWV individual performer's style. Granted, this discussions of some finer points of 73 [Trauersinphonie]" and Frank is a difficult task, particularly when playing in a section, some historical

HBS Newsletter, Issue IO, Page 36 perspectives on auditioning and section. His advice regarding balance, about technical and musical issues, along conductors, a bit of history about the articulation, tone, and intonation is well- with a recommendation of a preferred horn, and a substantial section on received, and his statements regarding recording, usually an older gem. The standard orchestral repertoire. In all, it is blend and balance as functions of comments are brief (sometimes too a quick and entertaining read. musicianship, not brand-name of brief), and the emphasis is most often on instrument, are on the mark (in this how to interpret the notation. For those The focus of attention in the first few reviewer's opinion). His comments and interested in historical performance chapters is the relationship between the recollections of the auditioning process issues or context, there is none to speak orchestral musician and the conductor. in the 1940s show us that something has of--Mr. Meek may have been one of the Mr. Meek tells us of many positive, real- been lost. While desires for equity in first to try performing on a natural horn, life experiences he had with the auditions have improved certain aspects during the early stages of the early music conductors mentioned above, lamenting of the process over the years-- the lack revival in the 1950s (and, by his own that the time where music-making was (even discouragement) of personal admission, one of the first to retire from dependent only on the player-conductor contact, particularly with conductors-- it!), but this was never the focus of his relationship is passing. In today's have created an artistic separation as interest or intentions in his playing or in scramble for perfection on recordings, well. I found his conclusion rather this book. And though I was consistently something has been lost. As the venue for striking-- the result of this evolution left wanting more in terms of details, listening to music continues to move seems to be increased focus and value different conductor or performance from the concert hall to the home audio placed on technique rather than on experiences, or other advice, I was never system, two things have occurred: the musicality. It is substantive food for really disappointed. Mr. Meek's average listener is gradually losing the thought. perspectives have real substance to them appreciation for first-hand experience of and deserve serious consideration, music (and is often disappointed when Mr. Meek's chapter on the evolution of particularly by those considering an live performances do not match the the horn is more of an outline with some orchestral career. Of highest value to me "perfect" compact disc at home), and the pictures, covering the usual highlights of is the perspective gained about how intrusion of another person into the the horn's technological development. conductors, musicians, and orchestras in music-making process, the recording The following section is substantial: 75 the 1930s, '40s and '50s went about their engineer, has further distorted the pages, including 37 excerpts from 30 business. perception of what live music can or pieces, drawn from the standard --- Jeffrey Snedeker, Central Washington should be. orchestral repertoire from Haydn University (Symphony No. 5 1) to Ravel (Piano Mr. Meek also reminds horn players of Concerto in G). Each excerpt is some of the finer points of playing in a accompanied by a few recommendations

published works for trumpet. These difficulty from relatively virtuosic to Music Edition pieces are not originally written for easy (unless you hold my view that trumpet and would more likely be found NOTHING on the natural trumpet is Reviews in the cornett and sackbut domain. easy!). The range primarily encompasses However, those familiar with Cassone's a sixth from c" to a". Only one piece, CD (Nuova Era 7 184), which features a Canzona LYverolda, ventures up to high * 13 Canzoni Strumentali Milanesi del number of the works, will note that one c"' and d"'. The composers in this edition XVII secolo per tromba e organo; can make a convincing argument that represent some of the finest early 17th- Cesare Borgo, Andrea and Gian Paolo they are quite playable on natural century Italian composers and that is also Cima, Vincenzo Pellegrini, Anonymous. trumpet. Flexibility in choosing a bonus. Much is, Antonio Frige, editor. Bulle, Switerland: instrumentation for this repertoire was frankly, mediocre, and to have solo Editions Bim (CH- 1630, Bulle, Switzer- the norm and the creative leap that FrigC music of this high caliber should warm land). Tesori della Musica Italian Series. makes in editing these works for trumpet the hearts of trumpeters performing CHF 25,OO. is a lucky stroke for trumpeters looking today. to expand the limited solo natural * Quai bellici accenti for solo voice, trumpet repertoire. However, as Steven Alessandro Melani (1 639- 1703) was an trumpet and basso continuo by Alessan- Plank points out in his review of active composer and choirmaster in both dro Melani. Antonio FrigC. Editions Bim. Cassone's CDs (see HBSNL #7, 1994), Bologna and Rome. He was from a Tesori della Musica Italian Series. CHF the music is not completely suited to the musical family, being one of nine 35,OO. limitations of the trumpet and the editor brothers, all of whom were well-known manipulates the music to fit these musicians. Quai bellici accenti, for solo The keyboardist Antonio Frigt, known to limitations. In much of the music, the soprano voice, trumpet, and basso many HBS members as a frequent colla- trumpet can very handily play the top continuo, is an extremely expressive and borator with natural trumpeter Gabriele line, but occasionally the keyboard is well known solo vehicle in the trumpet Cassone, is editing a new series of Italian required to take it over. If that bit of repertoire. Frigt has also collaborated music for the Swiss publisher Bim. The delicacy is not bothersome, these pieces with Cassone on a recording of this edition of thirteen canzonas is certainly a offer much interesting music. The music with great success (Nuova Era most welcome addition to the recent thirteen canzonas range in technical 7009). It is a large-scale work with seven

HBS Newsletter, Issue 10, Page 3 7 movements. The trumpet joins the a publication which includes only seven Menuetto by Ttirrschmidt/Palsa, include soprano in the five arias and is tacet in of the fifty duets from the 1790 publi- some quirky writing, though this may be the two recitatives. The writing is lovely cation.) due to transcription errors, for in and the interplay between the trumpet Janetzky's transcription of the same duet and vocal lines is masterful. As men- That the duets were in fact originally from the 1790 publication, a number of tioned before, these editions are clear and intended for horns, a cor alto and a cor the oddities are missing. While most of easy to read. They come with score, basse, is also clear from certain idiosyn- the duets are anonymous, a number have individual parts (in different keys for crasies in the first and second parts: in been identified. In addition to Palsa's performance on modern instruments as both parts series tones (and Turrschmidt's) pieces, one duet is well as natural trumpet), and a separate predominate (though non-series tones are attributed to the composer and writer on continuo part. The Melani edition does fairly frequent); however, the writing music Johann Friedrich Reichardt (1 752- have a section of editor's notes that style for the top instrument is character- 1814). Perhaps the most interesting are outlines errors found and corrected from ized by the melodic use of a limited two duets labeled "Allegro de Mozart" the original music. More information in range (mainly from g' to c"'), typical of and "Andante de Mozart" respectively, the notes would have been helpful. Bim's much cor alto writing from the second for they are the most chromatic and policy of multi-language translations is a half of the 18th century; the writing style extended of the pieces in the collection. double-edged sword that gives informa- for the second part, on the other hand The latter is an arrangement of "La ci tion to readers of Italian, French, German utilizes a lower range, C to g", and is darem la mano" from W.A. Mozart's Don and English but leaves little room to say characterized by large leaps and rapid Giovanni, hence the increased chromati- much. These are two new additions to the triadic typical of the corno cism. It appears that hornists then (like published repertoire for trumpet and we basse style at the same time. In addition, hornists now) were searching for good- look forward to future efforts by Antonio notes in the low register corresponding to quality music and would not stop short of Frige both as editor in this fine series and the second and third harmonics, as well arranging an attractive number for their as collaborator with trumpeter Cassone. as non-harmonic tones between them instrument. Brand has dated the manu- --Jeffrey Nussbaum (e.g. a lipped-down third harmonic F), script to c. 1793--five years after Don enable the bass line formula F-G-C (scale Giovanni became generally popular in * Salzburger Hornduette von Mozart, degrees 4-5-1) at cadences, a hallmark of Europe and shortly after Palsa's death in Reichardt, Palsa, Anonymus: 40 much cor basse writing in the later 18th 1792--and this seems logical. originale Hornduette aus dem century. Salzburger Museum Carolino The level of difficulty ranges from easy Augusteum, ed. Johannes Brand. In the introduction, Brand has illustrated in the fanfares to fairly difficult in the Munich: Edition Brand, 1990. Brand's the ranges for first and second horn and technical and more chromatic numbers, Brass Program No. 18. 20 pp.. Edition has also included illustrations showing especially when played on natural horn. Brand, Musikverlag, Karwendelstrasse the specific tones outside of the harmonic As is typical of horn duets, no key has 150, D-80 17 Ebersberg bei Munchen. series, listed as Stopftone, for first and been indicated, though it is most likely second horn respectively. Unfortunately, that these duets would have been Johannes Brand has unearthed a very the illustrations are not accurate: the performed with horns crooked in D, Eb, interesting set of manuscript duets for range for the second horn is shown in E, or F. The duets have been very horn dating from the end of the 18th "new notation" while the duets them- attractively printed and editing appears century that are currently housed in the selves have apparently been transcribed generally good, with suggestions for . Museum Carolino Augusteum in as they were found in the manuscript, articulations and dynamics clearly Salzburg. The forty duets published in with "old notation" for low tones in the differentiated from those found in the this collection have no instrument second horn; also, a number of pitches manuscript. As an important addition to designation, but Brand has correctly are missing from the illustration of tones the literature for horn duet, Brand's determined that these duets are for horn. outside of the harmonic series (e.g. the publication can be highly recommended One reason he cites is that two of the notes E, F, and F# between the second to hornists. duets are labeled "de Palsaw--doubtlessly and third harmonics). Looking at the --- Thomas Hiebert, California State referring to Johann Palsa (1 752-92), a music itself, it is interesting to note that University, Fresno renowned cor alto player of the later 18th tones outside of the harmonic series, century who composed duets and while fewer than harmonic series tones, *Karl Haudek. 28 Duets for Two Horns, performed double horn concertos are used in a variety of ways. Sometimes ed. Christopher Larkin. London: London together with his partner, cor basse they are quick neighbor or passing tones, Gabrieli Brass Edition, 1994. Rare Brass player Carl Tiirrschmidt (1753-97). The but occasionally they are held out for Series. 23 pp. London Gabrieli Brass connection of this collection to these long values and used for special effects Edition, PO Box 1825, London N20 famed duettists is perhaps even closer in a contrasting section of the piece--all 9NU, United Kingdom. than Brand is aware, because at least very much in the style associated with three unidentified duets in Brand's Palsa and Turrschmidt. The 28 Duets for Two Horns by Karl publication (nos. 18,27, and 40) were Haudek (1 72 1-1802), published by published about 1790 as Turrschmidt's Most of the duets are short binary Christopher Larkin in the Rare Brass Cinquante Duos Pour deux Cors, Op. 3, movements, often featuring horn fifths Series, are of significant historical and and were probably written in and octave statements. There are musical interest for horn players. K. collaboration with Palsa. (The three duets numerous pleasant menuettos, familiar- Haudek was hornist in the Dresden court by Turrschmidt are found in Waldhorn- sounding fanfares, and some attractive orchestra from 1747 until 1796 (in some Duette verschiedener Meister des 18. und slower movements that include more capacity--even in 1786 his service was 19. Jahrhunderts, ed. K. Janetzky, 1953, chromaticism. A few, such as no. 18, a reduced because of illness). Haudek has

HBS Newsletter, Issue 10, Page 38 often been cited along with his stand- two horns utilizing non-harmonic-series Larkin has faithfully reproduced the partner, second hornist A.J. Hampel, as tones unaccompanied in a solo context. original e' found in the manuscript, one of the early exponents of hand- As mentioned above, the duets may also however, for voice leading reasons, g stopping. J.G. Dlabacz mentions have been written by Haudek for his should probably replace the e' in the (Kunstler-Lexicon, 18 15) that Haudek students (or other players) and may well second horn. and Hampel performed the most difficult date from the 1770180s. In any case, Duettkonzerte in front of the entire these duets most likely predate the rash The duets are enthusiastically recom- Dresden court, and states further that of horn duets and trios written later in the mended to all hornists. Christopher Haudek wrote some Duettkonzerte for his 18th century by hornists such as G. Larkin is to be commended for students that remain unpublished. These Punto, J. Palsa, & C. Tiirrschmidt, the publishing a modem first edition of these newly published duets may in fact be the Boeck brothers, and others. Stylistic most interesting duets, as well as for same as the Duettkonzerte written by considerations would also indicate the taking pains to sort out their origin, an all Haudek for his students, as editor 1760s through '80s as a time-frame for too uncommon feature of modern Christopher Larkin believes, though this composition, with fairly well-defined editions of small works. is difficult to prove beyond a shadow of a first- and second-horn ranges and styles --- Thomas Hiebert, Calijbrnia State doubt. Nevertheless, there is no question (later called cor alto and cor basse University, Fresno that they are an important addition to respectively) similar to features of many music for two horns from the 18th double concertos for horn written at this century. time. The stopping technique required in Haudek's duets is limited to a handful of The existing manuscript for the duets has tones in each part: non-harmonic series a fascinating and somewhat complicated tones are commonly used as passing Letters to the Editor, continued provenance that is detailed by Larkin in tones or neighbor tones, but are also leapt his introductory notes. Larkin traces its to and played for longer durations, as in path from the copyist C.G. Krill (who no. 1. Also, in addition to low tones in To The Editor: was Kantor in Wehlen, near Dresden, the second horn part such as harmonics I thank you for allowing me to view a from 1764 to 1817) through various two and three, factitious tones (between pre-publication copy of Bruce Dickey's owners, to the present holder, Denzil harmonics two and three) are present, a translation of a very very very important Floyd. Krill copied the duets on paper common feature of cor basse parts in the manuscript, (hereafter refered to as: dating from 1806, and his name, as well second half of the eighteenth century. b.d.t.v.v.v.i.ms). I must take exception to as that of other early holders of the Technically, the duets are not the term "wine flask." This is no doubt a manuscript, is found on the cover pages exceedingly difficult, though they mistranslation. In my very very very of the first and second horn parts, as is demand a fair amount of flexibility on important and ground-breaking paper, the name of the composer, given as both players' parts, and the first horn Drinking and Sleeping Habits of Brass "Haudex, Cammer Musicus." Though ascends to the regions of c"' from time to Players: 1375-1 973, presented at the Karl Haudek had a horn-playing son-- time. No key is indicated for the duets, 199 1 International Symposium of named Karl Joseph Haudek (1 762- 1832)- though the most likely keys that these Moving Objects, I prove that brass - who followed him in the Dresden court were performed in would have been D, players in 16'- and 17th-century Italy orchestra and who might have composed Eb, E, or F. drank only beer. (Interestingly enough these duets, Larkin appears to be correct this was also true of brass players in in assigning them to Haudek senior. The duets are generally pleasant- Brooklyn in 1993.) Also interestingly, Larkin cites, among other things, the sounding. All are relatively short and are archival records indicate that brass style of the duets as "having the look and in binary form. The best are tuneful duets players in 17th-century Germany drank feel of a composer such as Haydn, circa with some tasteful writing that are fun to only wine. Further research on this topic 1760." In addition, according to G. play. For example, I particularly enjoyed needs to be undertaken. (See Proceedings Schilling (Encyclopadie, supplement, no. 1 with its imitative texture, as well as of the 1991 International Symposium of 1842), and other latter sources, the son nos. 5, 6, 17 and 19, which include a Moving Objects, due Sept., 2083.) was given the honorary title Kammer- welcome change of mode from major to musikus about 1826, one year before he minor, effected by using a stopped note, --Dr. Les Lipp, PhD, Profissor of retired from the Dresden court orchestra. eb". With the exception of no. 9, the , Carmine Caruso Institute Since C.G. Krill would have most likely duets are notable for their general for Advanced Brass Studies and Very copied the duets before he retired in absence of the hunting horn idiom. Very Very High Notes 1817, and Haudek junior did not receive the title of Kammermusikus until 1826, Larkin has included a facsimile of the the designation Haudex, Cammer cover page of the manuscript Musicus very likely refers to Haudek Secundo part. This writer always senior. appreciates such nice touches in sorting out how the work might have been edited If K. Haudek wrote these duets for for publication. The printing quality is himself and his longtime stand-partner good and clean and the transcription of A.J. Hampel, then their genesis would the duets appears accurate. Larkin has likely fall in the 1760s, for Hampel died chosen to silently correct some obvious in 1771, and he was ill from 1768 on. If mistakes and there are no problems here, the duets are in fact from the 1760s, they save for a questionable spot in no. 17--in represent some rather early examples of the fourth bar before the first repeat sign

HBS Newsletter, Issue 10, Page 39 News OfThe Field Ifyou have news ofconcerts, publications, recordings, instrument collections, symposia, or workshops, please send notices to: Historic Brass Society, 148 West 23rd Street #2A, New York, NY 1001 I USA Tel/Fax(212) 62 7-3820 or E-mail: [email protected] -.

HBS Early Brass Colloquium in For information consult the IMS web Charlotte Leonard presented an London page: http:llwww.sun.rhbnc.ac.uW interesting paper, The Role and Affect of HBS will present a special day-long Music/Conferences/IMS/ the Trombone in the Music ofHeinrich Early Brass Colloquium: Scholarship Schiitz and His Contemporaries. Trevor and Performance: A Dialogue on Keith Polk to Receive Monk Award Herbert gave a stimulating and highly Wednesday, August 13, 1997 at the The distinguished scholar Keith Polk will entertaining lecture, Brass and Gender: Royal Academy of Music, London. This be the recipient of the 1997 Christopher Some Preliminary Thoughts, in which he event is being presented in cooperation Monk Award and will be presented to presented some fascinating information with The Royal Academy of Music him at the reception of the HBS Collo- about woman's involvement in brass (Curtis Price, Principal, and John quium to be held on Wed. Aug. 13th at playing including the possible sackbut Wallace, Head of Brass) and The Open the Royal Academy of Music in London. activities of one of the most famous University. Many leading performers, Dr. Polk wrote a ground-breaking PhD woman in Western civilization!! On scholars, conductors, and instrument dissertation on the study of improvisation Sunday morning Wim Becu, a member makers will participate in special and instrumental practices of Flemish of Concerto Palatino and arguably the sessions consisting of formal papers and wind bands during the Late Middle Ages. finest bass sackbut player in the world, round-table discussions. Papers will be He went on to conduct important conducted a workshop on the presented by Keith Polk, Richard research, particularly on performance of Flemish wind music. Cheetham, Simon Wills, and Hugh performance practice. His study of early Many cornettists and trombonists were Macdonald. Other panelists, respondents performers such as members of the coached in the subtleties of late- and session chairs are: Curtis Price, Schubinger family has led to a much Renaissance wind repertoire. Trevor Herbert, Andrew Parrott, Jeremy fuller understanding of both the written West, Stewart Carter, Herbert Heyde, and improvisational traditions. The result 13th Annual Early Brass Festival John Wallace, Jeremy Montagu, Cliff of some of him most recent research is For the first time since its inception, the Bevan, Arnold Myers, Crispian Steele- his book, German Instrumental Music of Early Brass Festival will not be held at Perkins. A social event is scheduled for the Late Middle Ages (Cambridge U. its usual Amherst College location. The the end of the day-long events. Press). Keith Polk is also an active HBS decided, in the interest of trying to performer on both modern and natural make our activities more geographically HBS to Present Early Brass Study horn. diverse, that the Early Brass Festival Session at IMS Congress should occasionally be held in a different The Annual Congress of The Interna- Christopher Monk was perhaps the -. part of the country. The 1997 13th tional Musicological Society Congress is greatest advocate that the early brass Annual Early Brass Festival will be held one of the most celebrated musicological community had. The Award in his name July 1 1- 13 on the beautiful campus of the gatherings in the music community, and is to honor scholars, performers, Indiana University in Bloomington. the HBS is presenting a special Early teachers, instrument makers and others Richard Seraphinoff will be the local Brass Study Session, Contextsfor Brass: who have made significant and life-long arrangements coordinator, and EBF # 13 History, Performance and Culture. The contributions to the historic brass field. promises to be a fantastic event, with all 16th Annual IMS Congress will take the usual EBF activities, including place at the Royal College of Music, 12th Annual Early Brass Festival informal playing session, lectures, London on August 14-20, 1997, and the Some 80 early brass enthusiasts played in instrument makers exhibitions, Saturday- HBS Early Brass Session will be held on informal music-making sessions, listened evening party, and Sunday-afternoon Tuesday, Aug. 19,4:30-6:00 PM. The to lectures and a concluding concert, and concert. The one difference this year will following papers will be presented: Brass enjoyed a wide range of early brass be the air-conditioned dorm rooms! We and Gold: The Economics and Social activities at the 12th annual Early Brass hope to see you there. Position of Performers of Brass Instru- Festival at Amherst College, Amherst, ments, 1600-1800 by Stewart Carter MA, August 2-4, 1996. Cornetts, natural A Newly Discovered Trumpet Solo by (Wake Forest University); Towards a trumpets, natural horns, serpents, and Giuseppe Verdi Social History of Trumpeters in other 19th-century brass instruments In August 1996 the Bad Sackingen Fifteenth-Century Flanders: The Case of were discussed and happily played all Trumpet Museum acquired a previously Roeland Ghijs by Rob Wegman through out the Festival, as is usual for unknown work by Giuseppe Verdi (Princeton University), Keith Polk these annual events, but early trombone (1 8 13- 190 1). It is a complete set of parts (University of New Hampshire) topics were the main concern at the EBF for an "Adaggio" [sic]for solo trumpet in Respondent; and Brass Instruments and # 12. Benny Sluchin, the virtuoso low D and orchestra. The attractive piece, Trends in Victorian Britain by Trevor trombonist from Paris, presented a in which the solo trumpet has full say, is Herbert (Open University), Richard lecture demonstration on Friday night, reminiscent of an opera cavatina. The Middleman (Open University) entitled Trombone Pedagogy in France manuscript came from a group of Respondent. Discussion with the from the 18th Through the 20th documents which had been forgotten in panelists and audience members will Centuries. The Saturday lectures the house of Verdi's father-in-law, follow. HBS President, Jeffrey included three trombone topics. Matt Barezzi, and were not discovered until Nussbaum will chair the session. Hafar gave a talk on the Trombone in recently; only for this reason did the Psalm Setting of Monteverdi and work escape the planned destruction

HBS Newsletter, Issue 10, Page 40 which was the fate of nearly all other since the publication of Fantini's trumpet variations, including in a minor key. compositions from Verdi's youth. It was method) was the first stop on the Tarr's Various themes pop up from time to time apparently composed between 1835 and 1997 American tour. The program in either the organ or trumpet part (e.g., 1839 at Barezzi's request for the Societa featured Dr. Tarr performing music with "Here Comes the Bride," and music that dei Filarmonici di Busseto, where the organ accompanyment on various types sounds like it came from an eastern young composer was born and still lived of trumpets "in the cantabile style" (as he European Jewish wedding). Finally, the before moving to Milan, where he described it) from the 18th through the Prince of Denmark's March was heard composed his first operas. The under- 20th centuries, as well as Dr. Krueger (a once again as the work came to an end signed is planning an article on this work well-known music therapist) playing with an audience that gave Tarrs' music for publication in the HBS Journal. organ solos. appreciative applause. (Space forbids me - - from including Irmtraud Krueger's organ The German premiere performance of the Dr. Tarr began the program on a Yamaha solos here, but the works were unusual "Adaggio" took place in the Bad 4-valved playing the and beautifully executed). Sackingen Cathedral on February 1, Gottfried Reiche "Fanfare" and the G.P. 1997. The performers were Edward H. Telemann "Air de trompette." He Edward Tarr attended the reception Tarr (on a Roman trumpet in D) with the switched to a baroque trumpet with vent afterwards, signing his autograph on Orchesterverein Bad Sackingen, holes by R. Egger to play the chorale copies of his book and his record albums. conducted by Josef Polyak. Under the "Gott der Vater, wohn bei uns" by Bach's Dr. Tarr is making available a limited headline "Verdi to Sing Along with," the pupil, Johann Ludwig Krebs, then number of copies of his new CD, "Verdi- music critic Jurgen Scharf wrote after the reassembled the same instrument as a Erstauffuehrung: Live-Aufnahme," with performance: "The five-minute work ..., double slide trumpet (a la Dauverne) to the Orchesterverein and Kammerchoir an amazing proof of young Verdi's talent, perform "Herzlich lieb hab ich dich, 0 Bad Sackingen, featuring the premiere of is audibly reminiscent of his predecessors Herr" by Krebs and "Durch Adams Fall" the Verdi "Adagio," on the Siidkurierl Rossini, Bellini, and Donizetti. In this by another Bach pupil, Gottfried August Musikbox label, for $1 5 U.S. early work's tone and allure, the later Homilius. Mr. Tarr performed two --- Submitted by Bob Goodman and Dave master already shines through, italianita sonatas (nos. 1 and 3) by Girolamo Baum is discernible ...[It is like a] melody for Fantini to finish the baroque trumpet - tenor, colored by the trumpet ..." portion of the program. Streitwieser Trumpet Museum Gets (Siidkurier, Constance, Germany). New Home and Name Then, with a gleam in his eye, Dr. Tarr The Streitwieser Trumpet Museum, A live CD recording was made of the revealed that he had recently been formally in Pottstown, PA is finally concert performance and will be on sale offered a manuscript of a long lost work, settled in the Kremsegg Castle in Krems- soon. The proceeds are earmarked for the "Adagio for Trumpet and Orchestra" by miinster, Upper Austria,and has a new Trumpet Museum. For details, write to: Giuseppe Verdi, which he finally name, Instrumentenmuseum. Museum Verdi CD, Bad Sackingen Trumpet acquired after verifying its authenticity Director Franz Streitwieser will reside in Museum, Postfach 1143, 79702 Bad with the Verdi Society. He had given the his original homeland six months a year, Sackingen, Germany. The American work its modern premiere in Bad from April to September, and spend time premiere performances will take place Sackingen, Germany, on February 1, in the USA the rest of the year. At the during the coming U.S. tour of The Duo 1997, and informed us that we were now recent opening ceremony, Streitwieser (Irmtraud Kriiger, organ, Edward H. present at its first American performance! was honored with the Golden Service Tarr, trumpet) between April 15 and May He proceeded to play the work with Award of Austria, which was presented 5. Performances will take place in organ accompanyment on an F. Besson to him by the Governor of Upper Austria. College Park MD, Tryon NC, Gambier (London) valved trumpet pitched in D The Instrumentenmuseum now contains OH, Dekalb IL, Covington KY, Angwin (ca. 1859, a gift from his pupil, Reinhold all types of instruments, and approxi- CAYand La Grange IL. An edition of the Friedrich), which is twice as long as its mately one third of the 1000 brass "Adaggio" is in preparation for the modern counterpart. The short work, instruments are on display. The Old- Musikverlag David McNaughtan, dating from 1835, was one of Verdi's last Timer Car Museum is currently sharing Coburg, Germany. Besides the original works before leaving his home town for space in the Schloss, but they plan to setting with orchestra, versions with later fame. It is very lyrical, and sounds relocate next year, which will result in piano, organ, and brass quartet as though it were a slow aria written for about three times more space for the accompaniment will be available. tenor voice. musical instruments. Franz Streitwieser Publication time: Fall 1997. says that Austria is the land of the brass --- Edward H. Tarr Continuing with the low-pitched player and invites all HBS members to romantic trumpet, Dr. Tarr played Oskar visit the museum. Kremsmiinster is about "Das Duo" Presents American Lindberg's "Old Cowherd's Psalm from halfway between Salzburg and Vienna. Premiere of Lost Verdi Trumpet Work Dalarna." He finished the program on a On the afternoon of April 20, 1997, the Yamaha valved trumpet in C with the Tafelmusik Potomac Chapter of the American Guild delightful and humorous "Variations on a The noted Canadian period-instrument of Organists presented a recital, Theme of Jeremiah Clarke" written in orchestra has been keeping the brass "Trumpet Cantabile - 359 Years of 1984, and dedicated to "Das Duo," by players busy with recent performances of Trumpet and Organ," performed by "Das Stanley Weiner. The melody ("...every- Bach's and Duo," Dr. Edward H. Tarr (trumpets) and body's favorite wedding march ...which, Orchestral Suites as well as Handel's Dr. Irmtraud Krueger (organ), at St. if you don't know it, you simply haven't Water Music and Music for the Royal Andrew's Episcopal Church, College been around!") is first heard played in Fireworks. Contact 4.1 6-964-9562. Park, Maryland. The hour long program segments, then gets a full treatment of (whose title refers to the number of years

HBS Newsletter. Issue 10, Page 41 Historic Instrument Course additional two-week program, involving Serpent Releases and Upcoming A special course for historical high-school-age students, during the last Performances instruments will be held from Oct. 1-5, two weeks of July. The Academy offers Serpentists Michel Godard of France has 1997 in Crossen, Germany. The focus of to provide meals, housing, transportation release Repont, a recording of Gregorian the course will be German and Italian within Poland, and a small stipend, but chant performed by the Choir of Saint- music in the 16th and 17th century and is unfortunately cannot provide funds for Martin's Abbey, Liguge, with Michel being sponsored by the Heinrich Schiitz transportation from the U.S. to Poland. accompanying on serpent and tuba in Museum, Bad KOstritz. Arno Paduch Interested parties may contact Stewart traditional and avant-garde style (D- (cornetto), Sebastian Krause (trombone), Carter. E-mail . 2490, Studio SM, 54 rue Michelange, Martin Krumbiegel (voice) and Markus 75016 Paris, France). Bernard Fourtet of M&kl (organ) will be the instructors. Adopt an HBS Member France has recently performed the Contact: Felix SchGpe, Dantestr. 4 Interest in early brass music has been serpent part in a recording Mendelssohn's Leipzig 04 159 Germany. Tel. 49-34 1- generated in many parts of the world. Paulus (Harmonia Mundi) with Orches- 9020660. Occasionally a musician from a tre des Champs Elysees. Phil Humphries developing country in Eastern Europe or of England has recorded with the Seraphinoff Natural Horn Master some other area seeks to learn more Mellstock Band, Tenants of the Earth: Class about early music and wants to develop Music of Rural England, WildGoose Noted natural horn virtuoso Richard more activities in his or her own country. Studios WGS 28 1. Seraphinoff will conduct a week-long Some of these musicians might have an Natural Horn Master Class at the income of $1 00 a month, so, in the spirit Upcoming performances include Michel University of Indiana, Bloomington, of international cooperation, the HBS has Godard's recital at the 1997 International June 16-2 1, 1997. Individual instruction donated publications and given free Tuba & Euphonium Conference, July 6- as well as ensemble instruction will be memberships to these musicians. The 11, in Riva del Garda, Italy. Doug Yeo of given. Performances will also be part of HBS seeks support to continue this Boston will perform the North American the event. All aspects of natural horn worthy policy. As the HBS is a not-for- premiere of Variations on "The Pecky repertoire and performance practice profit organization members are Serpent" by Clifford Bevan, for serpent issues will be addressed. Tuition is $300 encouraged to send tax-deductible and piano, March 3 1, at Jordan Hall, plus $25 application fee. Contact: Rick contributions which can be ear-marked to Conservatory of Music, Seraphinoff, Tel. 812-333-0167 or I.U. sponsor a brass musician or scholar with Boston. In addition, Doug will perform Special Events Office: 8 12-855- 1814. an HBS membership and publications. the Simon Proctor Serpent Concerto with the Boston Pops Orchestra, John BarclayISeraphinoff Natural Trumpet Smile. Now say ... embouchure!??? Williams, conductor, in June at Making Workshop Mark Jones is not only an enthusiastic Symphony Hall, Boston. Immediately following the Early Brass collector of early brass instruments, he --Craig Kridel Festival # 13 at Indiana University in also has managed to find many early Bloomington, Rick Seraphinoff and Bob photographs of players as well. Some Opening of the MusCe de la Musique, Barclay will conduct their Natural interesting recent acquisitions have Paris Trumpet Making Workshop. (July 14- 19, include a 119 plate ambrotype of a fellow An event of great importance in the 1997). Under the direct supervision of holding a B-flat keyed bugle, 116 plate world of historic brass, and early music instrument maker, Bob Barclay, students ambrotype of keyed bugle player posing in general, has been the opening of the in the course will make a natural trumpet with his wife and instrument, and a CDV Musee de la Musique, Paris in January completely from scratch and using of yet another keyed bugle player with 1997. The core of the collection is from completely authentic instrument-making instrument. Mark also reports that he is the Conservatoire National Superieur de techniques. Bob Barclay is a noted expert now the proud owner of a rare 19th- Musique, whose former museum closed on authentic brass making techniques century Russian bassoon by Suater- its doors in 1990. The new display of one and has written the definitive work on meister, Lyons, France, with a dragon of the world's finest collections of the subject, The Art of the Trumpet head, three keys and six holes. musical instruments is in an impressive Maker (Oxford University Press). building designed for it as part of the Barclay claims that no one will leave 2nd International Festival For Wind CitC de la Musique. The building itself is without making a workable instrument. Orchestras a statement about the importance Tuition is $400. Contact: Rick The Filarmonica Sestrese will present the attached to the instrument collection by Seraphinoff, Tel. 8 12-333-0167. 2nd International Festival of Music the French state, and the display clearly "Citta di Genova" for wind-instrument and very elegantly exploits state-of-the- Polish Academy seeks American Brass orchestras on July 10- 13, 1997. This art techniques. The sound system is Teachers for Summer Program event will include the great parade of particularly good. Marie-France Calas, Prof. Jerzy Mrozik, Director of the celebrations, civic ceremonies, and many Conservateur-GCnCral and Director, and Academy of Music, Wroclaw, Poland, is musical performances; it marks the the staff of the museum who have been interested in enagaging American 152nd anniversary of this organization. working on this project since 1981 are to artistfteachers of horn, trumpet, and In addition to the musical activities, there be congratulated on creating one of the trombone for a summer program, July 1- will be a special tour of Genoa and world's foremost musical museums. 14, 1997, involving college-age students. coastal areas. Contact: Filarmonica The program will focus on modern brass Sestrese, Via Goldoni 3, 16154 Genoa, In the display of over 900 instruments, instruments, but there is considerable Italy Tel. 39-10-653 1778 or fax 39-10- the brass have a strong presence, interest in historical instruments as well. 6048977 reflecting the contribution France has There is also the possibility of a an made to the development of brasswinds.

HBS Newsletter, Issue 10, Page 42 One has only to think of the invention of Lacock Serpentarium music and provided insights on the the serpent and many of its derivatives, The Wiltshire village of Lacock will host featured selections. His appearance the ophicleide, the comet, compensating a rare musical event, a gathering of coincided with the annual meeting of the valves, and the development of the serpent players and enthusiasts, on May Society for Seventeenth-Century Music , all associated with France and 16-18, 1997. The first Lacock which convened at Florida State all represented by one or more examples Serpentarium in 1995 attracted players University from April 10-13, 1997. in the galleries. There are also from throughout Europe and the USA. instruments from other countries, of The event is organized by Lacock Northwest Horn Workshop course, including a stunning collection of resident Andrew van der Beek. Joining The 1997 Northwest Horn Workshop cornetti. One of the most striking features van der Beek will be his fellow members will be held on May 2-4 at Central (after the quality of the Collection) is the of the London Serpent Trio, Cliff Bevan Washington University in Ellensburg, emphasis placed on relating the and Phil Humphries. Coaching and WA. Featured artists will include David instruments displayed to the time and playing sessions will take place Krehbiel (San Francisco Symphony), place of landmark performances in throughout the weekend. Contact James Deckes (University of Southern French music; models of important Andrew van der Beek, Cantax House, California), and Richard Seraphinoff historic concert halls and theaters help to Lacock, Chippenham, Wiltshire, SN 15 (Indiana University). The weekend convey a sense of occasion very 252 England. Tellfax 44-(0) 1249-73068. workshop will include concerts, master effectively. One can, for example, look classes, and demonstrations for orchestral inside a model of the concert hall where Ahle Workshop for Cornetts and performance, commercial/studio work, the premiere of Berlioz's Symphonie Trombones horn building, and natural horn playing. Fantastique took place, hear a The Musikhochschule of Trossingen will Contact: Jeff Snedeker, Co-host, commentary (several languages are conduct a week-long workshop dedicated Northwest Horn Workshop, Dept. of available) and excerpts from the music, to the music of Johann Rudolf Ahle Music, Central Washington University, and see all the instruments of the period. (1 625-73), May 12-18, 1997. Charles Ellensburg, WA 98926. Tel. 509 963- The museum is, naturally, designed to Toet and Wim Becu will instruct 1226, fax 509 963-1239, E-mail: speak to the general visitor, but the trombonists and Doron Sherwin will [email protected] facilities have much to offer the specialist teach cornetto. Contact Early Music also. There is, for example, a Institute, Linde Brunmayr, Dept. Head, Gabriele Cassone documentation center in which a Schultheis-Koch-Platz 3, D-78647 The noted trumpeter reports that early database of catalogue records can be Trossingen, Germany. Tel49-7425- music activity is growing in his searched on-line. The clean and healthy 949 10 or fax 49-7452-949 148. homeland of Italy. There is more condition of the objects was also striking, Baroque as well as Classical repertoire and I understand that newly developed Keyed Bugle Grand Concert being performed on period instruments electrical techniques that safely reverse Keyed bugler Stephen CharpiC recently and Cassone has even encouraged the effects of corrosion were used on presented a number of concerts including conductors of modern orchestras to use some of the metal instruments. The music by Francis Johnson. In a recital in natural trumpets (see the interview in this labeling at times left a little to be desired. February, 1997, at the Kemp Recital Hall issue for more on that pheonomenon). He One showcase contained two 6-valve at Illinois State University, Normal, IL, has recently recorded the 2nd independent-piston instruments by CharpiC was assisted by Dr. Joe Utley on Brandenburg Concerto by J.S. Bach with displayed side-by-side: keyed bugle, Dr. James Major on the Orchestra Giardino Armonico for the according to the labels, a trombone and a baritone, Dr. Joella Utley on piano, and Teldec label, and the music of Andrea saxotromba. After looking very carefully, the 33rd Illinois Volunteer Regiment Falconiero with organ for Fonil Cetra. I could identify no significant difference Band. The tour concluded with a Plans are underway for a recording of the between the two - perhaps there is indeed television taping of the program on concerto for winds by Vivaldi, including an imperceptible difference in some part January 30th in Greenville, South the Concerto for Two Trumpets and the of the bore, but neither the excellent Carolina. Mr. Charpie can be heard Concerto for Two Horns. museum handbook nor the showcase performing on the keyed bugle in Ken label offered a solution to this riddle! Burns1documentary, Thomas Jefferson, Carolina Waits on Tour --- Arnold Myers, Historic Instrument which aired on PBS in February. Other The Carolina Waits, a cornett and sack- Collection, Edinburgh University recent performances included recitals at but ensemble formed in 1995, recently the Great American Brass Band Festival completed two tours with a program Great American Brass Band Festival in Danville, KY and at the Shrine to entitled "From the Tower and the Loft: This annual event which attracts Music Museum in Vermillion, SD. Music of the Stadtpfeifer." Between thousands of brass band lovers will be Information: E-mail: September 26 and 29, 1996, they held on June 13-15, 1997 in Danbury, KeydBug [email protected] performed the program in Winston- KY. Many brass groups, including 19th- Salem, NC; York; SC; Durham, NC; and century brass bands, will be performing. Stewart Carter Is Heard in Spartanburg, SC. They repeated the For information check out their web Tallahassee program in Cleveland, OH, Jan. 3 1, page: http://www.gabbf.corn/ or E-mail: On April 13 Dr. Stewart Carter was a 1996, and at Baldwin-Wallace College, [email protected] or, if your guest on the program "Early Music Berea, OH, on Feb. 1. The ensemble computer has blown a fuse, you can call Sunday" hosted by Michael O'Connor. consists of cornettists Tim Collins and 505-236-4692. The program originates and is broadcast Douglas Young and sackbutists Matt over WFSQ-FM in Tallahassee, Florida. Hafar, Stewart Carter, and Craig Kridel Dr. Carter fielded questions on the role (who also plays serpent). Steven Plank of the trombone in seventeenth-century joined the ensemble as guest organist for all these performances.

HBS Newsletter, Issue 10, Page 43 If You Know This Man, Contact Local Igino Conforzi Authorities Igino Conforzi's remarkable CD Local historic brass authorities, that is! recording of the music of Girolamo Greg French a collector and expert on Fantini is being reissued after being off early photographs recently acquired an the shelf for the past few years (see early daguerreotype of this keyed bugle review in HBSNL #6, 1994). Contact player and is seeking information on his Edizioni Discografiche Quadrivium, Via possible identification. A recent informal Fratti, 14, Perugia 061 23 Italy. Fax 39- survey among a number of noted experts 75-5732503. Conforzi is also editing a indicated that it is most likely not Frances new series of brass music for Ut-Orpheus Johnson. It might be one of his Music Editions. The first in the series Philadelphia music colleagues. Louis- will be a modern critical edition of J.M. Daguerre (1 767- 185 1) started to Fantini's famous trumpet method. make innovations in his photographic Contact: Ut-Orpheus Editions, Via process in the early 1830s. If you have Marsala 3 1/E, Bologna 40 126 Italy. Fax information, please contact the HBS or 39-5 1-239295. E-mail: Greg French, PO. Box 2283, Jamaica

Claude Maury program included Rossini's Prelude, the GABBF will be the first by a Finnish Maury is one of Europe's most active Theme and Variations, Saint-Saens style brass septet. Ameriikan Poijat, natural horn players. He is a member of Romance, Op. 36, several Op. 82 trios by based in Minnesota, will be traveling to , The Orchestra of the Reicha, and a trio with piano accompani- Kentucky with stops in Detroit, Michigan 18th-Century, Orchestre des Champs- ment by Dauprat. and Fairport Harbor, Ohio,both locations Elysees (Philippe Herreweghe, conduc- with Finnish American communities. for tor), and is also an active soloist and Amherst Early Music information, contact: Great American chamber music player. Some recent The 1997 Amherst Early Music Festival Brass Band Festival, Norton Center for performances included Bach's Christmas will take place August 3- 17 at Amherst the Arts, 600 W Walnut Danville KY- Oratorio and B-minor Mass, Rarneau's College, Amherst MA. The theme will be 40422. Tel. 606-236-4692. E-mail: Acante & Cephise, Brahms' # 1, "Music of France: Medieval, Renaissance http://www.gabbf.com/ Mendelsshohn's Elias, and Beethoven's and Baroque." A special bash will take Third Symphony, , and place to celebrate Dufay's 600th birthday. Mary Rasmussen Retires Fidelio. Recent performances with the Instruction on many instruments, Mary Rasmussen has announced her soloists of the Champs-Elyskes included including sackbut and cornetto, will take retirement from the University of New Schubert's Octet and the Mozart Horn place. Contact: Amherst Early Music, 65 Hampshire. Professor Rasmussen has Quintet. Claude Maury reports that a West 95th Street #1A, New York, NY been at U. of NH since 1969 and is noted number of new CDs are due to be 10025. E-mail: [email protected]. for her important work in publishing, released soon including recordings of the editing and writing for The Brass Dauprat Sextet and the Gallay Caprices. Assistance Sought for Checklist of Quarterly. The BQ was one of the first His latest CD is Mozart-Triebensee, Early Trombones publications that offered a forum for which includes music for by Stewart Carter is preparing a checklist of scholarly discourse on early brass topics. Ensemble Octophoros. (Vanguard extant trombones built before 1860. He Classics-Passacaille Collection #99709). would appreciate receiving information F.S.U. Ensembles Present Concert Piet Dombrecht is on second horn. He on such instruments (valved as well as The Florida State University Early Music has also recorded Bach's B-minor Mass slide), particularly those in private Ensemble and Cantores Musicae and the Mozart Serenade, K. 388 with collections and others not listed in the Antiquae presented a concert in Philippe Herreweghe as well as the published catalogues. Contact: Stewart conjunction with the annual meeting of Mozart Sextet in E-flat, K. 375, with Carter, Department of Music, Wake the Society for Seventeenth-Century members of the Orchestra of the 18th Forest University, Winston-Salem, NC Music which convened from April 10- 13, Century. Contact: [email protected] 27 109. E-mail . 1997. All of the works on the concert were by composers who were born and Jeff Snedeker Ameriikan Poijat invited to Great worked in East Central Europe during the Jeff Snedeker was in residence at the American Brass Band Festival seventeenth century, from Zielenski in University of British Columbia (Vancou- Summer 1997 Poland, Lukacic in Croatia, to Biber, ver), January 22-29, 1997. He performed The Finnish American Brass Band Schmeltzer, and Rittler from Bohemia with the Pacific Baroque Orchestra on a AMERIIKAN POIJAT (Boys of and Moravia. The main work was the program featuring Handel's Water Music America) will be performing at the Missa pro defunctis by Philippus Jacobus and Haydn's Symphony 49 (La Passio- GREAT AMERICAN BRASS BAND Rittler for the memory of the Emperess ne), with Dawn Haylett as second horn. FESTIVAL in Danville, Kentucky. This Claudia Felicitas of the Tyrol, the second Snedeker also gave a lecture on historical festival is the largest gathering of brass wife of Emperor Leopold I, who died in brass instruments, and presented a recital band performers and enthusiasts in the 1676. with pianist Marilyn Wilbanks, with country, with over 60,000 expected in --- Submitted by Michael O'Connor, Mary Hackleman and Dawn Haylett attendance over the weekend of June 13- Florida State University assisting on natural horns. The recital 15. Ameriikan Poijat's performances at

HBS Newsletter, Issue 10, Page 44 Ab Koster Sackbut Link Lawrence Lowe (Brigham Young The natural horn virtuosity of Ab Koster Check out this web page. University), David Saunders (Boise State is heard on two recent CDs, Mozart & It has plenty of information about University), as well as Farner and Beethoven Quintets for Fortepiano and makers, literature and all sorts of Snedeker. Winds (Attacca #9684), which also trombone news. The address is: feature Stanley Hoogland, fortepiano; Ku http://www.cwu.edu/-grovesj/trbn/sackb Natural horns were well represented at Ebbinge, oboe; Eric Hoeprich, ; ut.htm1, or you can E-mail this workshop. Rick Seraphinoff gave a and Danny Bond, bassoon. A solo CD on . presentation/slide-show on horn-build- Sony-Classical (SK 68253), Haydn, The ing, a revealing look at issues instrument Natural Horn, features Koster with the Barry Bauguess Web Page builders, particularly those of historical ensemble L'Archibudelli. (see review). Natural trumpeter Barry Bauguess has an instruments, encounter. On the Saturday interesting web page outlining some of evening program, Rick performed the Virtual Museums his activities as a trumpeter as well as his Beethoven sonata (with Peter Gries, A number of important museums and many music editing publications. Barry's fortepiano), and then was joined by Jeff instrument collections have leapt into wife Paige Whitley is one of the formost Snedeker and Marilyn Wilbanks for cyberspace and have established some Renaissance dance experts, and her Dauprat's M=E9lodie pour Cor alto en fascinating web pages. The Shrine to exploits are also featured. Oh, and their =46a et Cor basse en Mib avec Piano, Music Museum page cat Ziggy gets honorable mention. The Op. 25/C (from their recent CD release), (http://www.usd.edu/smm) gives the address is: and then Seraphinoff, Snedeker, Christo- viewer an extensive look at their http://www.coastalnet.com/-h4c5t4nb pher Leuba and Harry Bell performed collection, including detailed images of two quartets for horns in different keys three beautiful Nuremberg natural Americus Brass Band Web Site (from Dauprat's Op. 8 collection). The trumpets and a rare tenor cornetto. Other This outstanding 19th-century brass final concert included Le Rendez-vous de museums with important early brass ensemble has an extensive web page: Chasse, by Rossini, performed by the instrument collections are: the Bate http://www.csulb.edu/-cotdabbweblabb. Northwest Workshop Natural Horn Collection, Oxford htm. Check it out. Ensemble, formed at the event and (http://www.ashmol.ox.uk/bcmiPage.htm including Seraphinoff, Bell, Leuba, l), Edinburgh Historic Instrument Concerto Palatino Web Page Snedeker, Karen Bjorge, Ed Burnham Collection This leading cornett and sackbutt and David Crane. (http://www.music.ed.a.uWeuchmi/), ensemble has an updated web page Metropolitan Museum of Art, NYC which lists activities and includes a Over the course of the weekend, more (http://www.met.museum.org/), comprehensive discography: that 140 participants and performers Musikmuseet, Stockholm http://www.inr.net/bleissdlists/palatino.h made time to come and enjoy the many (http://www.smus.se/musikmuseet/), tml#c&s festivities. This workshop received Sterns Collection, Ann Arbor generous support from the CWU (http://www.hvcn.org/info/libscmi.html), Early Music in Poland Foundation, CWU Horn Club, CWU the Smithsonian Institution, Washington, Stewart Carter, recorder and sackbut, and Music Department, the Northwest Horn DC (http://www.si.edu/). [Note: Brent Wissick, viola da gamba, were Society, the International Horn Society, parentheses are not part of the web page guest artists with the early-music the Rainier Symphony Orchestra, and address.] ensemble Collegio di Musica Sacra in Festival Associates of Seattle and other Poland, Nov. 24-30, 1996. Carter and individual donors. This celebration of Cyber-Percussion Wissick appeared with the Polish the horn and horn playing in the Peggy Sexton of Tempo Early Music ensemble in concerts in Wroclaw and Northwest was a wonderful event and Productions has recently extended her Waldbrzych, and also collaborated on opportunity to hear a variety of sounds publishing, instrument making, and lecture-recitals in Warsaw, Legnica, and and styles. Future Northwest workshops concert activities beyond her hometown Wroclaw. are expected, so stay tuned and come join of Austin, Texas. She has established a us!!! web page for historic percussion, and The 1997 Northwest Horn Workshop --- Jeffrey Snedeker with it hopes to promote discussion The 1997 Northwest Horn Workshop about a wide range of topics including was held May 2-4, 1997 on the campus Jeremy West the seeming lack of "official" interest in of Central Washington University in Jeremy West's activities continue as a certain types of music such as early Ellensburg, Washington. Co-Hosts teacher at three English institiutions, percussion and early brass. Check it out Jeffrey Snedeker of CWU and Kathleen director of Christopher Monk at the following e-mail address: Vaught Farner of Pacific Lutheran Workshops, and director of his http://www.ccsi.com/-bobs/histperc.html University organized a variety of events outstanding ensemble, His Majesties and activities, featuring guest artists Greg Sagbutts and Cornets. HMS&C has a fine Sonances Web Music Mag Hustis (Dallas Symphony), Jim Decker new CD out (see review in this issue) and A new cyberspace music magazine has (University of Southern California) and a new one of music from Giovanni been established and it has loads of Rick Seraphinoff (Early Music Institute, Gabrieli's famous 1597 collection. In interesting information including articles Indiana University) and a number of addition, Jeremy has recently recorded and reviews on a wide range of topics. Northwest luminaries, including his second solo cornetto CD and is The web address is Christopher Leuba (Portland Opera), the assisted by Tim Roberts, Paula http://www.sonances.qc.ca.Information of the Oregon Symphony Chateauneuf and Frances Kelly. Both can be obtained from : Orchestra, Marty Hackleman, Ellen CDs, due to be released soon, are on the [email protected] Campbell (University of Oregon), Hyperion label.

HBS Newsle~ler,Issue 10, Page -/5 Jean Tubery Cornetto virtuoso and director of Ensem- ble La Fenice, Jean Tubery, was a guest soloist in a series of concerts with Artek in December, 1996, in New York City. The concert program, presented by Artek director Gwen Toth, consisted of German Baroque repertoire by Tunder, Weckmann, Schiitz, Scheidt, Rosenmiiller, and Buxte- hude. Tubery also presented a master-class on 17th century music at Mannes College of Music. During his stay in New York, Jean Tubery was joined by HBS President Jeff Nussbaum, for a private tour, given by Herbert Heyde, of the Metropolitan Museum of Art musical instrument collection. They had the rare treat of examining and playing the diverse collection of cornetti and hunting cornetts at the Met.(see photo). Tubery has continued to be very busy with his ensemble and as a soloist. At last count, his cornetto playing is represented on over forty recordings.

Jean Tubery and Herbert Heyde at the Metropolitan Museum ofArt

Music Dissertation Web Page Young Hildebrandt, soprano; Kiri CLASSIFIED ADS There is a new web page listing Tollaksen, cornetto; Gregory Hamilton, information on recent Ph.D. and D.M.A. theorbo; and Mark Janello, organ have WANTED: dissertations in music. Organized by worked and studied with many of the Cornopean, pre- 1900. Prefer complete chronological period, a web browser can finest musicians in the field of early set with crooks, Stoezel valves, case etc. quickly get information on a wide range music. Their strong interest in the vocal in good condition. Will consider any of music dissertations. The address is and instrumental music of 17th-century make or unsigned. Also wanted: comets http://www.music. indiana.edu/ddm Europe has brought them together to prior to 1920 by Conn, King, Buescher, form this distinctive group. Appropriate Besson, Diston, Courtois, Lehnert, Robin Pyle to the style of this era, El 7 incorporates a Slater, Boston, Boosey, York. Will Robin Pyle will present a natural trumpet great deal of improvisation in their consider any early makers and models. recital with Peter Syker, organ and performances. After a recent concert for Contact Bill Faust, Tel. 614 841-2021. E- harpsichord at the First and Second the closing of the exhibit "Venice, mail: Church in Boston, Saturday June 14, Traditions Transformed" at the 4:00 PM. The recital will be a concurrent University of Michigan Museum of Art, WANTED: event with the Boston Early Music E 17 was hailed as "a hot act, showing Tenor Sackbut. Contact: Adam Decker, Festival. For more information: 617 876- polish and loads of talent" (Gerald 4939 Lighthouse Point, Acworth, GA 97 11 or E-mail: . Brennan, Ann Arbor News). This group 30101 Tel. 770 966-7286 also performed at the Detroit Institute of Festival Arts on the "Bruch with Bach Series" this FOR SALE: The largest assemblage of ragtime past December. El7 will be recording in McCann cornett with thumb rest attached entertainers in the 100-year history of the May and performing at the Boston Early $450. Meinl& Lauber Inventions music made famous by Scott Joplin, Music Festival this June as a concurrent trumpet with crooks for E~,D, C#, C, B, Eubie Blake and others will gather in event. Contact: Kiri Tollaksen, 1029 Bb. $1200. Contact: Mike Malloy, 614 Fresco, CA. on Nov. 22-24, 1996. Nearly Pontiac Trail, Ann Arbor, MI 48105; Tel. 538-0163 or E-mail: a dozen bands, including a number of 3 13 662-9 168; Fax: 3 13 763-5097; E- early brass bands, and some 150 artists mail: . will perform. Contact: West Coast WANTED: Ragtime Society, PO Box 4747, Fresco, Town Crier E~ Alto Sackbut. Contact: Karen CA 93744-4747. (209) 442- 11 10. HBS members Nelson Starr and Don Snowberg, Tel. 9 14-74 1-030 1 (work #) or Montalto have become familiar sights, E-mail: 70544.263 [email protected] New Quartet dresseed in their 18th-century garb and El 7, a "terffic quartet" (Ann Arbor performing on natural trumpets for WANTED: News) presented a program of 17th- various occasions such as parties, F Alto Sackbut. Contact: Mark century German and Italian music, April celebrations and store openings. Erdmann, Tel. 2 16-871-6535 11, in Ann Arbor, MI. Members Lorna

HBS Ne wsleller, Issue 10, Page 46 The Historic Brass Society Presents the 13th Annual Early Brass Festival - July 11-13,1997 Indiana University School of Music, Bloomington, IN

Richard Seraphinoff: Festival Coordinator; Jeff Snedeker: Festival Registrar & Co-Director; Stewart Carter: Co-Director

Performances, informal playing sessions, lectures, instrument makers exhibition

"Special Filming by the BBC"

Robert Barclay: Running a Natural Trumpet Making Workshop Thomas Huener: Tromba Emblematica: The Rhetorical Role in the Stew Carter: The Early Trombones in the Shrine to Music Museum Works of J. S. Bach Collection Charlotte Leonard: Special Reading Session-Trombones, Cometts, John Ericson: Heinrich Stoelzel and Earfy Valved Hom Technique and Voices in 1fh-Century German Music Peter Hoekje: Dimensional Factors Affecting Cometto Playing Joe Utley: First Valve Half-Tone Brass Instruments, An Early Phase of Response Development Lisa Emrich: Music for Hom by J.F. Gallay, Lecture/Demonstration

EBF Registration Form

Send before July 1st to: EBF Registrar, Jeff Snedeker, 404 North Sampson, Ellensburg, WA 98926 USA After July 1 call for info: tel. 509 963-1226 email: [email protected]

Name: Instrument(s): Address:

Phone E-mail:

Registration fee: $30 (for HBS members). $50 for non-HBS members. Students: $10 discount. Payable to: Historic Brass Society

I will need a dorm room at the I.U. campus on the following nights: [I Thurs. July 10, [I July 11, [ ] July 12, [I July 13, single room ($29. per night). Housing to be paid at registration time on campus.

[ ] I plan to stay for the Barclay Natural Trumpet Making Workshop. July 14-19 and will need dorm housing.

I will arrive on: and depart on: Means of travel:

[I I am not a current HBS member and want to join. Please ,find enclosed 1997 HBS membership dues ($20) Payable to: Historic Brass Society

16th International Congress -- 'The International Musicological Society Musicology and Sister Disciplines: Past, Present and Future Royal College of Music, London, Aug. 14-20,1997

Historic Brass Society Studv Session: Contexts For Brass: History. Performance. Culture Tues. Aug. 19th 4:30-6:00 PM

Session Chair: Jeffrey Nussbaum (Historic Brass Society, USA) Trevor Herbert (Open University, UK) Brass Instruments and Social Trends in Victorian Britain Stewart Carter (Wake Forest University, USA) Brass and Gold: Respondent: Richard Middleton (Open University, UK) The Economic and Social Position of Performers of Brass Instrument, 1600- 1800. For information on the IMS Congress contact: Dr. Jonathan King, Department of Music, Royal Holloway, University of Rob Wegman (Princeton University, USA) Towards a Social London, Egham, Surrey TW20 OEX UK. Tel44-(0)1784-443290 History of Trumpeters in Fifteenth-Century Flanders: The Case Fax 44-(0)1784-439441 email: [email protected] of Roeland Ghijs Respondent: Keith Polk (University of New Hampshire, USA) Or contact: Historic Brass Society, 148 West 23rd Street #2A New York, NY 1001 1 USA TelIFax 212 627-3820 email: [email protected]

HBS Newsletter, Issue 10, Page 47 The Historic Brass Society in cooperation with The Royal Academy of Music and The Open University Presents A One-Day Colloquium: Historic Brass: Research and Performance G8

Wed. Aug. 13th, 1997 The Royal Academy of Music, London

Registration: 9:OO-9:45 AM Victoria Quinault: Registrar 1 111. 2:30-4:00 PM 19th Century Session 9:45-10:OO . Jeff Nussbaum (Historic Brass Chair: John Wallace (The Royal Academy of Music) Society) and Curtis Price (The Royal Academy of Music) Simon Wills (The Guildhall School of Music) Fugelmen and Other Ranks: or, The Odyssey of Messers. Smithies, Smithies and Smithies 1. 10:OO-11:30 Renaissance Session . - - dr e Chair: Tess Knighton (Early Music) Hugh Macdonald (Washington University) The Comet in the Keith Polk (University of New Hampshire) instrumentalists and Music of Berlioz Change in Musical Textures c. 1500 Respondent: Clifford Bevan (London) Richard Cheetham (The Orchestra of the Renaissance) The Instrumental Heresy: Performance Practice in Late IV. 4:OO-530 PM Recent Directions and Misdirections in Sixteenth-Century Spanish Cathedrals and its Translation to and Performance Disc. Chair: Trevor Herbert (The Open University) Respondent: Kenneth Kreitner: (Memphis State University) Position statements and responses I Panel Statements: 11. 11:30-1:00 PM 18th Century Session Stewart Carter (Wake Forest, University) - >- -- Chair: Jeremy Montagu (Oxford) John Wallace (The Royal Academy of Music) - Stewart Carter (Wake Forest University) Something Old Andrew Parrott uheTaverner Players) Something New: Trombone Pitch in the 18th Century Herbert Heyde (The Metropolitan Museum of Art, NYC) John Ginger (Tewkesbury) Handel's Trumpeter: The Diary of Respondents: John Grano Crispian Steele-Perkins (London), Jeremy West (Christopher Crispian Steele-Perkins (London) The Challenges of Being an Instruments)* Arnold Myers vhe University of 18th Century Trumpeter Edinburgh)

1:00-2:15 PM Lunch 530-6:30 - Reception and Presentation of the 1997 Christopher Monk Award; Ophicleide Performance Cliff Bevan, Tom Winthrope, John Elliott, Tony George, & Steven Wick

Colloquium ~ebistrationForm

Name: HBS Colloquium registration fee: £ 10 or $15 (for USA checks payable in Address: US dollars and drawn on a US bank)

Registration fee for full-time students: £5 (Europe) or $10 (USA), RAM Phone: students: free

E-mail:

Make checks payable to: The Historic Brass Society

Send registration to: HBS Colloquium, Victoria Quinault, Brass Dept., The Royal Acadeniy of Music, Marylebone Road, London NW1 5HT, UK. Tel. 44-(0) 171-8737320, Fax 44-(0) 171-8737355, E-mail: [email protected]

[I I am not a current HBS member and wish to join. Please find enclosed 1997 HBS Membership Dues: $20 (USA) or £20 (Europe) payable to: Historic Brass Society

HBS Newsleaer, Issue 10, Page 48 -- COLLOQUIUM ON HISTORICAL MUSICAL INSTRUMENT ACOUSTICS AND TECHNOLOGY

Meeting organised jointly by the Edinburgh University Collection of Historic Musical Instruments and the Galpin Society

22-23 August 1997 - Edinburgh, Scotland

Web URL: http://www.music.ed.ac.ukleuchmi/galpin/gip.html

PROVISIONAL PROGRAMME The musical acoustics abstracts (with G. Grant O'Brien, Russell The detailed timetable will be available more brass papers) are at: http://www. Collection of Early Keyboard later. The papers are expected to music.ed.ac.uWeuchmi/isma~mta.html Instruments, Faculty of Music, include: http://www.music.ed.ac.uk/euchmi/manu University of Edinburgh, U.K. - script1 ACOUSTICS OF HISTORICAL "Technology in the Kirkman INSTRUMENTS HISTORY OF MUSICAL Workshop: the State of the Art" Joint session with The International ACOUSTICS John R. Watson, Colonial Symposium on Musical Acoustics "John Donaldson and 19th-century Williamsburg Foundation, (ISMA '97) Acoustics Teaching in the Williamsburg, Virginia, U.S.A. University of Edinburgh" Keynote Paper [speaker to be decided] Christopher Field, St Andrews, U.K. THE PIANOFORTE "The Hammer-String Interaction in "Acoustics of Historical " "The History of Musical Acoustics: Viennese 1780- 1850" Bernard Richardson, Department of How the Scientific Understanding Stephen Birkett, Department of

Physics and Astronomy, University of Instruments has Evolved and . Systems Design Engineering, of Wales, Cardiff, U.K. How it has Influenced the University of Waterloo, Ontario, t Development of Instruments" Canada "Acoustic and Dynamic Michael L. Djordjevic, Belgrade, Characterization of Different Serbia "Early Iron Framing in Pianos: The Hammers-sets in the Rossini Piano Work of Alpheus Babcock and the Pleyel petit queue Restoration" "The State of Progress with the Boston School" Alessandro Cocchi [I], Flavio Ponzi Edinburgh University Manuscript Darcy Kuronen, Museum of Fine [2] and Lamberto Tronchin [I] Instrumentalischer Bettlermantl" Arts, Boston, Massachusetts, U.S.A. 1. DIENCA, Faculty of J. Patricia Campbell, Department of Engineering, University of Bologna, Fine Art, University of Edinburgh, "Steinway's Over-strung Grand Piano: Italy U.K. Technological Revolution or 2. Echo Historical Pianos, Bologna, Marketing Success?" Italy "Application of Acoustical Science by Paul Poletti, Italy Historical Makers of Keyboard "Using Pulse Reflectometry to Com- Instruments" "G.F. Sievers and mid 19th-century pare the Evolution of the Cornet and John Koster, The Shrine to Music Pianoforte Technology" the Trumpet in the 19th and 20th Museum, University of South Marco Tiella Rovereto, Italy Centuries" David B. Sharp [I], Dakota, Vermillion, U.S.A. Arnold Myers [2] and D. Murray STRING INSTRUMENTS Campbell [I] THE HARPSICHORD "New Materials for Early Music 1. Department of Physics and "English Virginal Design Concepts Instruments" Astronomy, University of and Pitch Standards" Charles Besnainou Laboratoire Edinburgh, U.K. Darryl Martin Faculty of Music, d'Acoustique Musicale, 2. Faculty of Music, University of i University of Edinburgh,U.K. Universittkeacute; Pierre et Marie Edinburgh, U.K. Curie, Paris, France "Towards Establishing the Original "Non-conformistic Pipe Scaling for a Disposition of the 1627 Stephano "Tone Development in Stringed Classical Organ" Bolcioni Harpsichord in the Russell Instruments I: the Degradation of Dirk Steenbrugge, Gent, Belgium Collection, Part 1 : Geometry, the Hemicellulose" Oncia and the Original Dimensions" Ephraim Segerman, Manchester, "Musical Acoustics of Dutch Wind G. Grant O'Brien, Russell U.K. Instruments from the Period of the Collection of Early Keyboard Baroque" Instruments, Faculty of Music, "Tone Development in Stringed Rob Van Acht, Haags University of Edinburgh, U.K. Instruments 11: Acoustic Vibration Gemeentemuseum and Institute of and Creep" Sonology, Koninklijk "Towards Establishing the Original Ephraim Segerman, Manchester, Conservatorium, The Hague, The Disposition of the 1627 Stephano U.K. Netherlands Bolcioni Harpsichord in the Russell Collection, Part 2: The Original Musical State" HBS Newsletter, Issue 10, Page 49 "Endongo (Bowl ) of the Baganda Symposium on Musical Acoustics Pollock Halls, of Uganda: an Examination of its (ISMA '97) to be held in the University 18 Holyrood Park Road, Acoustical Properties" of Edinburgh, August 19-22 . Edinburgh EH16 5AY James K. Makubuya, MIT Music Tel: +44 (13 1) 667 0662 and Theater Arts, Cambridge, MA, There will be a Dinner in the evening of Fax: +44 (13 1) 667 1971 U.S.A. August 21 for participants in ISMA '97 and this Colloquium. Participants requiring hotel acommoda- "'Tension-Free Instruments' - the tion or family room accommodation Guitar and Mandolin Designs of The Colloquium has been timed to should make their own arrangements. Orville Gibson" follow on from the International The Edinburgh Tourist Information Darryl Martin, Faculty of Music, Musicological Society conference in Center (3 Princes Street, Edinburgh 2; University of Edinburgh, U.K. London, August 14-20. Tel: +44 (0) 13 1-557 1700) can help.

"Some Technological Features of THE VENUE CONCERTS Russian Seven-String Guitars" Edinburgh, capital of Scotland, is one of Details of concerts taking place at the Nina Mileshina and Alexander the most spectacularly beautiful cities of time of the Colloquium will be available Batov, The Glinka State Central Europe. The Conference takes place later. In addition, a programme for the Museum of Musical Culture, during the Edinburgh International Edinburgh International Festival and a Moscow, Russia Festival, which runs from August 10-30, program for the Edinburgh Festival 1997. The sessions will take place in the Fringe will be sent to all participants. "Sympathetic Stringing as applied to Reid Concert Hall, built in 1859 as the the and other Bowed University's Music Classroom. The COLLOQUIUM FEE Instruments of the 17th and 18th building also houses the Edinburgh Univ. The Colloquium Fee, to include centuries: Origins - Applications - Collection of Historic Musical Instru- attendance at all sessions, lunches on Acoustics" ments and is in the center of the city. Friday and Saturday, and session-break Terence M. Pamplin, London refreshments, is 30 pounds sterling. Guildhall University, London, U.K. ACCOMMODATIONS A limited number of rooms have been Deposits for accommodation must be WIND INSTRUMENTS booked for Colloquium participants at paid by 3 1st May 1997. "The Stock-and-Horn" very reasonable rates in Pollock Halls, Charles Foster, Aberdeen, U.K. picturesquely set at the foot of Arthur's The Colloquium Fee and the full Seat and Salisbury Crags, yet only a payment for accommodation must be "Early Years of the Modern fifteen-minute walk from the city center. paid by July 24, 1997. Trombone: Some Observations" The rates for accommodation booked Arnold Myers [I] and Raymond through the Colloquium organisers are: BOOKING Parks [2] Single standard room: 21.50 pounds http://www.music.ed.ac.uWeuchmi/galpi 1. Faculty of Music, University of sterling per night, bed & breakfast; n/gita.html Edinburgh, U.K. Single en-suite room: 37.00 pounds 2. Department of Physics and sterling per night, bed & breakfast; Please complete the booking form as Astronomy, University of Double en-suite room: 59.75 pounds soon as possible if you wish to attend the Edinburgh, U.K. sterling per night, bed & breakfast. Conference. This form can be used to book for ISMA '97, the Colloquium on "On Archaisms and Musical Participants wishing to book this Historical Musical Instrument Acoustics Instrument Culture of Belarus" accommodation must pay a deposit and Technology, the One-day Inna Nazina, Minsk, Belarus (which will be deducted from their Conference on Instrumentalischer accounts with the Colloquium), as Bettlermantl, and accommodation for any "Might-have-been : Reform follows: Single standard room: 8.00 of these. Instruments by Boehm, Tamplini - pounds sterling per room, per night, and Kruspe" deposit. Single en-suite room: 12.00 Payment may be made by cheque, VISA William Waterhouse pounds sterling per room, per night, card, Mastercard / Access card, or Delta deposit. Double en-suite room: 12.00 card. Cheques must be payable to the The abstracts of the Colloquium papers pounds sterling per room, per night, University of Edinburgh, made out in are published on the World-Wide Web, deposit. Deposits for accommodation pounds sterling, either drawn on a U.K. URL: http:Nwww.music.ed.ac.uW must be paid by May 3 1, 1997. The bank or a Eurocheque. For security euchmi/galpin/gita. html balance must be paid with the reasons, orders should be sent by post; Colloquium fee. card numbers and expiry dates should not This Colloquium will be followed by the be sent by E-mail. Enquiries to: one day Conference on Participants who arrive before August Instrumentalischer Bettlermantl, a 17th- 18th or who leave after August 25, and Arnold Myers, Edinburgh University century Musical Compendium in the who wish to use the same accommoda- Collection of Historic Musical Edinburgh University Library Special tion, will be responsible for making their Instruments, Reid Concert Hall, Bristo Collections, to be held in the University own bookings with Pollock Halls:- Square, Edinburgh EH8 9AG, Scotland of Edinburgh, Sunday, August 24. Fax: +44 (0) 131-650 2425 (Faculty of Reservations Office, Music) The sessions on Friday, August 22 are Accommodation Services, E-mail: [email protected] jointly held with the International St Leonard's Hall,

HBS Newsle//er, Issue 10, Page 50 Edinburgh, 22-23 August 1997

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Osingle standard room at 21 50pounds sterling per night bed & breakfast Single standard room at 8.00 Per room, per night, deposit =...... single en-suite room at 37.00 pounds sterling per night bed & breakfast q Single en-suite room at 12.00 per room, n~oubleen-suite room at 59.75 pounds sterling per night bed & 2 breakfasts per night, deposit =...... Double en-suite room at 12.00 per room, For the following nights: per night, deposit =...... q ~onda~,August 18 [ ... ] Total = ...... n~uesda~,August 19 [ ...] and I will settle the balance of my accommodation charges q Wednesday, August 20 [ ...] with the organizers. n~hursda~,August 21 [ ...] I remit I will remit my fee for the Colloquium on Historical O~rida~,August 22 [ ...] Musical Instrument Acoustics and Technology of 30 pounds q Saturday, August 23 [ ...] sterling q sunday, August 24 [ ...] Total remittance: pounds sterling - -

Cheques must be payable to the University of Edinburgh, made out in pounds sterling, either drawn on a U.K. bank or a Eurocheque. For security reasons, orders should be sent by post; card numbers and expiration dates should not be sent by e-mail.

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HBS Newsletter, Issue 10, Page 51 PENDRAGON PRESS is pleased to announce a new Musicological Series, BUCINA @ THEHISTORICBRASSSOCIETYSERIES "Our intention is to launch a series of monographs on the history of brass instruments, their music, and their social function, from Antiquity through the nineteenth century. The objective of the series is to establish a vehicle for the publication of outstanding scholarly studies relating to these instruments in a format that permits more depth and more breadth than is possible in the Historic Brass Society Journal and other journals." F,ditor;ls! 9czl';l: Ste-;.a? .Czrte: (Sczrral Editor), Trevor Herbert, Keith Polk

The Series will begin with the publication of THELASTTRUMPET A Survey of the History and Literature of the English Slide Trumpet by Art Brownlow with a Foreword by Crispian Steele-Perkins -. -

The nineteenthcentury English slide trumpet was the last trumpet with the traditional sound of the old classic trumpet. The instrument was essentially a natural trumpet to which had been added a moveable slide with a return mechanism. It was England's standard orchestral trumpet, despite the dominance of natural and, ultimately, valved instruments elsewhere, and it remained in use by leading English players until the last years of the century. The slide trumpet's dominating role in nineteenthcentury English erchzsrr?! p!sykg has been we!! dcccrented, bct until new, the use of the instrument in solo and ensemble music has been given only superf~ialconsideration. Art Brownlow's study is a new and thorough assessment of the slide trumpet. It is the first comprehensive exarnina- tion of the orchestral, ensemble and solo literature written for this instrument. Other topics include the precursors of the nineteenth-century instrument, its initial development and subsequent modifications, its technique, and the slide trumpet's slow decline. Appendices include checklists of English trumpeters and slide trumpet makers. Fa11 '96 ISBN 0-945 193-81-5 [PP480] $54.30

Members of the Historic Brass Society enjoy a 15%discount on titles in I this series, as well as a lO%discount on all o,ther Pendragon Press titles. !

HBS Newsletter. Issue 10. Page 52 - - -- Other titles under consideration for inclusion in the series are: Perspectives in Early Brass Scholarship: Proceedings of the 1995 International Historic Brass Symposium, Amkerst, MA edited by Stewart Carter The HBS Symposium was the largest and most significant Ross Duffin, Trevor Herben, Herbert Heyde, Art Brownlow, gathering of brass scholars and musicians ever assembled. Stewart Carter, Alexander McGrattan, Arnold Myers, Th~svolume contains essays on the latest research undertaken Thomas Hiebert, Clifford Bevan, Robert Barclay, Vladimir by the most important scholars in the brass field. It includes Kochalev, and Herb Myers. Also included is an extensive studies by Reine Dahlqvist, Roben Dawson, Peter Downey, summary of the NEH Round-Table Discussion Panels.

HandelJsTrumpeter: The Diary of John Grano edited by John Ginger iiirilrcn while he was in debtcn irison, the little-known diary 18th century musician's life. A must for those interested in of Grano reveals important and fascinating information of an social history, British music, and brass n~usic.

Das Ventilblasinstrument (The Valve Windlnstrument) revised edition by Herbert Heyde, English translation by William Rogan Heyde's work is the definitive study of valve instruments and period in music history. The Valve Wind Instrument will be an an updated and revised edition in English is offered. The important reference work for all organologists, 19th century dcvcloprncnt of valves for brass instruments had a profound music scholars, collectors, instrument makers, and musicians i~npacl on composition and orchcstr-ation or 19th ccntury in~crestcdin brass music history. music and this study examines this important transitional

-> -. -- -u .i *- The Romantic Trumpet by Edward H. Tarr The first full-length monograph on the 19th Century trumpet, which of many 19th century instruments were historically used Edward Tarr has written a study addressing many in that repertoire. Now what type of trumpet should be used performance practice and historical issues. For modern for the historically informed performance of music by Berlioz, trumpeters interested in 19th century chamber, solo and Dvorak, Beethoven, Mendelssohn, Wagner, and many others, orchestral repertoire, Tarr has explained, in detailed fashion, is outlined in this book.

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Pendragon Press 4 1 Ferry Rd., Stuyvesant, NY 12 173-2712 Telephone (5 18) 828-3008 fax 828-2368 e-mail PENPRESS @CAPITAL.NET [ ] BiZ! me with my books, adding postage and handling charges. [ ] Enclosed please find prepayment (no postage and handling.)N.B.! N Y residents please add sales tax. - NAME

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HBS Ne wslerrer, Issue 10. Page 5 3 I ** Back Issues of HBS Publications **

* 1989 Historic Brass Society Newsletter # 1 Dating Trumpets by Serial Numbers Compiled by Henry Reiter A Survey of Modern Cornetto Makers and Their Work by Douglas Kirk How to Make a by Michael Albukerk Contemporary Sackbut Makers: An Update by Stewart Carter The Peacefhl by Jack Hotchkiss Historic Brass Symposium: A Synopsis by Jeffrey Nussbaum HBS Membership Directory Report on the Early Brass Festival at Amherst News of the Field and Book and Music Reviews News of the Field and Book and Music Reviews * 1995 Historic Brass Society Newsletter #8 (106 pages) * 1990 Historic Brass Society Newsletter #2 A Conversation with Early Brass Players Susan Addison and David Staff Stalking the Valveless Trumpet: A Report on Natural Trumpet Makers in by Jeff Nussbaum the USA and Europe by Fred Holmgren An Interview with Herbert Heyde by Peter Ecklund and Jeff Nussbaum Basel Symposium on Natural Trumpet and Horn by Edward Tarr A Collector's Life: An Interview with Ernst W. Buser by Edward Tarr Basel Symposium on Natural Trumpet and Horn by Cripian Steele-Perkins A Cornetto Discography compiled by Jeffrey Nussbaum Report on the Second Keyed Brass Conference by Ralph Dudgeon A Survey of Contemporary Makers of Early Trombone compiled by Report on the Early Brass Festival at Amherst George Butler First International Serpent Festival by Craig Kridel An Interview with Ophicleide, Serpent, and Tuba Player Tony George by News of the Field and Book and Music Reviews Richard Robinson The Wallace Collection's Cyfarthfa Project by John Wallace * 1991 Historic Brass Society Newsletter #3 News of the Field and Book and Music Reviews Serpent Celebration 1590-1990 by Christopher Monk Jean Rife: An Interview by Jeffrey Nussbaum * 1996 HIstoric Brass Society Newsletter #9 (80 pages) European and American Natural Horn Makers by Richard Seraphinoff HBS Hosts International Historic Brass Symposium by Jeff Nussbaum The London Cornett and Sackbut Symposium by Douglas Kirk and So How Many Holes is a Baroque Trumpet Supposed to Have? by Tim Stephen Escher Collins Report of Two Workshop Weeks with Bruce Dickey and Charles Toet by 1996 Survey of Natural Trumpet Makers by Fred Holmgren Sebastian Krause No Hot Air Here (interview: Bauguess, Conforzi, Holmgren, Immer, HBS Membership Directory Plunkett, Tarr) by Bob Rieder News of the Field and Book and Music Reviews A Cacophany of Cornettists (interview: Collver, Dickey, Escher, Kirk, Tubery, West) by Susan Smith * 1992 Historic Brass Society Newsletter #4 (63 pages) A Conversation with John Wallace and Trevor Herbert by Ralph Dudgeon A Brief Note on Ghizzolo with Transcription of Two Canzonas by Bruce Grand Concert? A New Exhibition on New Hampshire Town Bands by Dickey Richard Spicer The Cornett: A Maker's Perspective by John R. McCann The First International Altenburg Competition by Anne Hardin An Interview with Cornetto Virtuoso Bruce Dickey by Jeffrey Nussbaum News of the Field and Book and Music Reviews On the Construction of : A Maker's Experiences by Philip Drinker Brahms Horn Trio Op. 40: A Brief Account by Vincente Zarzo Soli Deo Gloria: Sacsred Music for Brass by Mark J. Anderson * 1989 Historic Brass Society Journal vol.1 (128 pages) Cartoons by John Webb A New Look at the Evolution of Lip-Blown Instruments from Classical News of the Field and Book and Music Reviews Antiquity Until the End of the Middle Ages by Don Smithers The ~eno;sackbut of Anton Schnitzer the Elder at Nice by Henry Fischer * 1993 Historic Brass Society Newsletter # 5 (66 pages) Ethics in the Conservation and Preservation of Brass Instruments by . Crotalis I: Serpens in Desertis by John R. McCann Robert Barclay Gottfried Reiche: 24 Quatricinia Rediscovered (with music transcriptions) Augustein Schubinger and the Zinck: Innovation in Performance Practice by Holger Eichorn by Keith Polk A Brief Report on the State of Affairs at the Ch. Monk Workshops - Early Horn Mouthpieces by Richard Seraphinoff Jeremy West & Keith Rogers 1 Snakes, Trees and Flames: A Discussion of Venetian Curved Cornett I'm Almost Shore It's Snow! by David & Julie Edwards Decorations by John McCann Constructive Research by John Webb I1 Vero Modo Di Diminuir - dalla Casa: A Translation by Jesse Rosenberg Meet Your Maker: A Round-Table Discussion~~nterview - . .- News of the Field and Book and Music Reviews The Apparalo musicale (1613) of Amante Franzoni (transcriptions by Ch. ~oet)by Bruce Dickey * 1990 Historic Brass Society Journal vo1.2 (224 pages) The Side Embouchure by Yoshimichi Hamada Bach, Reiche, and the Leipzig Collegia Musica by Don Smithers Conference of Early Music Societies by Stewart Carter Trombone Obbligatos in Viennese Oratorios of the Baroque by Stewart News of the Field and Book and Music Reviews Carter A Brief Overview of Musical Ensembles with Brass Instruments in 1994 Historic Brass Society Newsletter # 6 (67 pages) * European Festivals of State by Edmund A. Bowles A view of an Important Horn Collection by Vicente Zarzo Antique Trumpet Mutes by Jindrich Keller (translation) An Interview with Natural Trumpeter Crispian Steele-Perkins by Jefiey Antique Trumpet Mutes: A Retrospective Commentary by Don Smithers Nussbaum Keyed Bugle Method Books: Documents of Transition in 19th Century 1 Survey of Modem Cometto Makers: An Update by Jeffrey Nussbaum Brass Instrument Performance Practice and Aesthetics in England by An Interview with Hermann Baumann by Oliver Kersken Ralph Dudgeon A Systematic Approach to Determining Instrument Values by Dan I .-. The Mid-19th Century Brass Band - A Rebirth by Jon Borowicz Woolpert In Defense of the Serpent by Philip Palmer Brass Instrument Dating by Serial Numbers by Gordon Cherry New Symbols for Hand Positions in the Bell for Natural Horn by Francis News of the Field and Book and Music Reviews Orval A Bibliography of Writings About Historic Brass Instruments, 1988-89 by * 1994 Historic Brass Society Newsletter #7 (92 pages) David Lasocki An Interview with Edward H. Tarr: A Pioneer in Early Brass Music by News of the Field and Book and Music Reviews Jeffrey Nussbaum I Cornet and Performance Practice: Learning from the Golden-Age Masters by Patricia Backhaus HBS Newsletter, Issue 10, Page 5-1 * 1991 Historic Brass Society Journal volume 3 (300 pages) * 1994 Historic Brass Society Journal vol. 6 (4 17 pages) Christopher Monk: 1921-1991 The Purest Serpentist by Clifford Bevan The Romantic Trumpet (Part 11) by Edward H. Tarr The Trumpet and the Unitas Fratrum by Ernest H. Gross 111 Cornett Pitch by Bruce Haynes A Bibliography of Writings about Historic Brass Instruments, 1989-1990 Method Books for in the 19th Century: An Annotated by David Lasocki Bibliography by Friedrich Anzenberger A Comett Odyssey by John McCann Errata In 11 Terzo Libro Delle Divino Lodi Musicali of Giovanni B. Riccio Brass Instrument Making in Berlin From The 17th to the 20th Century: A by Tim Urban Survey by Herbert Heyde Dart's Dated Drums Dropped by Crispian Steele-Perkins Mozart's Very First Horn Concerto by Herman Jeurissen Praetorius on Performance: Excerpts from Syntagma Musicum I11 Giovanni Martino Cesare and His Editors by Howard Weiner translated by Hans Lampl, with commentary by S.E. Plank The Lives of Hojrompeter and Stadtpeger as Portrayed in the Three The Pelitti Makers of Brass Instruments in Milan in the 19th Century by Novels of Daniel Speer by Henry Howey Renato Meucci A Computational Model of the Baroque Trumpet and Mute by Robert Pyle Early Examples of Mixed-Key Horns and Trumpets in Works of C. L'Accento: In Search of A Forgotten Ornament by Bruce Dickey Graupner by Thomas Hiebert Brass Instrument Metal Working Techniques: The Bronze Age to the A Bibliography of Writings About Historic Brass Instruments, 1992-94 by Industrial Revolution by Geert Jan van der Heide David Lasocki Patronage and Innovation in Instrumental Music in the 15th Century by The Discoveries at Fassy House by Anne-Sophie Leclerc Keith Polk The Trumpet Shall Sound: Some Reasons Which Suggest Why Berlioz DauvernC Trumpet Method 1857: A Complete Translation Altered the Part for Trompette ii pistons in his Overture Waverly by News of the Field and Book and Music Reviews Diana Bickley Girolamo Fantini, Monarch of the Trumpet: Recent Additions in his Work * 1992 Historic Brass Society Journal volume 4 (300 pages) by Igino Conforzi 19th Century British Brass Bands by Trevor Herbert A Second Miracle at Cana: Recent Musical Discoveries in Veronese's V.F. Cerveny: Inventor and Instrument Maker by Gunther Joppig Wedding Feast at Cana by Peter Bassano A Business Correspondence From Johann W ilhelm Haas in the Year 17 19 Brief Studies and Reports by Herbert Heyde The Trompe De Lorraine (Continued) by B. Kenyon de Pascual An Examination of the Meifred Horn Method by Jeffrey Snedeker Two Trumpet Mutes Recently Acquired by the Germanisches Virtuosity, Experimentation, and Innovation in Horn Writing from Early Nationalmuseum Nllrnberg by Dieter Krickeberg and Klaus Martius 18th Century Dresden by Thomas Hiebert Concerning the Clarin and the Early Clarlnes by Peter Downey Analysis of Metals in 17th and 18th Century Brass Instruments by Karl Fantini and Mersenne: Some Additions to Recent Controversies by Peter Hachenberg Downey A Bibliography of Writings About Historic Brass Instruments, 1990-1991 Dauprat Horn Method (1 824) translation by Jeffrey Snedeker (part 111) by David Lasocki News of the Field and Book and Music Reviews The Oldest French Tutor for Slide Trumpet by Friedrich Anzenberger 19th Century Keyed Bugle Players: A Check List by Ralph Dudgeon - . -- * 1995 Historic Brass Society Journal vol. 7 (250 pages) Confederate Civil War Brass Band Instruments by G.B. Lane Method Books For Trumpet and Cornet Using Stopped Notes In the 19th Tans1ations: Bovicel l its Regole, Passaggi Di Musica (1 594), Dauprat's c. by Friedrich Anzenberger Horn Method (1 824), Trumpet in the Talmud (From Encyclopedia of Trumpet Style in 17th c. France and the Music of Les Trompettes Du Roy the Talmud) by Peter Downey News of the Field and Book and Music Reviews Problems in Identification of Archaeoorganological Evidence by Dietrich Hakelberg * 1993 Historic Brass Society Journal vol. 5 (380 pages) The Performance Practice of the Hunting Horn by Eva Heater Method Books for Natural Trumpet in the 19th Century by Friedrich A Bibliography of Writings About Historic Brass Instruments by David Anzenberger Lasocki The Romantic Trumpet by Edward H. Tarr The Trumpet in Funeral Ceremonies in Scotland During the 17th c. by Georg Von Bertouch and his Sonatas with Trumpet by Anders Hemstrom Alexander McGrattan Pitches of German, French, and English Trumpets in the 17th & 18th C. PCB Comets and Webster Trumpets: Rudall Carte's Patent Conical Bore Reine Dahlqvist Brasswind by A. Myers and F. Tomes Method for High-Hom and Low-Horn (translation by Jeffrey Snedeker) by Andreas Nemetz's Neueste Posaun-Schule: An Early Viennese Trombone L.F. Dauprat Method (translation) by Howard Weiner Lip-Blown Instruments of Ireland Before the Noman Invasion by Peter The Ophicleide in Spain by B. Kenyon de Pascual Downey Clarines and Trompetas: Some Further Observations by B. Kenyon de JosC de Juan Martinez's MCtodo de Clarin (1 830) Intro & Translation by B. Pascual Kenyon de Pascual Dauprat Horn Method (1824) (translation) by Jeffrey Snedeker (part IV) The Application of Noninvasive Acoustic Measurements to the Design, News of the Field and Book and Music Reviews Manufacture and Reproduction of Brass Wind Instruments by Philip A. Drinker and John M. Bowsher A Bibliography of Writing About Historic Brass Instruments, 1991-93 by * 1996 Historic Brass Society Journal vol. 8 (200 pages) David Lasocki Knowledge in the Making: Recent Discourse on Bach and the Slide The Sackbut and Pre-Reformation English Church Music by Trevor Trumpet by Steven Plank Herbert In Defense of Altenburg: The Pitch and Form of Foreign Trumpets by Girolamo Fantini: Recent Additions to His Biography by Igino Conforzi Matthew Cron Gottfired Reiche's Instrument: A Problem of Classification by Reine The Reconstruction of a 16th-Century Italian Trumpet by Geert Jan van Dahlqvist der Heide FClicien David's Nonetto En Ut Mneur: A New Discovery and New Light Stopped Notes on the Horn: Some Aesthetic Considerations by William Rogan on the Early Use of Valved Instruments in France by Chris Larkin The First Music For Brass Published in America by Clyde Shive, Jr. Method for High-Horn and Low-Horn by L.F. Dauprat (part V) translated by Jeff Snedeker 'The English Slide Trumpet by John Webb Small is Beautiful: The Trompe de Lorraine by B. Kenyon de Pascual A Chance Encounter with a Unicorn? A Possible Sighting of the AndrC Braun's Gammet Et MCthode Pour Les Trombonnes: The Earliest Renaissance Slide Trumpet by Keith McGowan Method Books for Slide Trumpet: An Annotated Bibliography by Modem Trombone Method Rediscovered ( with complete translation) Friedrich Anzenberger by Howard Weiner Alto or Tenor Trombone: Open or Closed Case? by Benny Sluchin Bibliography of Writings About Historic Brass Instruments: 1995-96 by News of the Field and Book and Music Reviews David Lasocki News of the Field and Book and Music Reviews

HBS Newsti eller, Issue 10, Page 55 Back Issues - HBS Newsletters $5 or $5, HBS Journals $15 or f 15 each plus mailing charges where applicable.

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HBS Newsletter, Issue 10, Page 56 Historic Brass Society Membership Directory 19954997

[Please note: If two phone numbers are listed, the second is a fax number] William Adams Jerome Amend Winthrop Armour Edward Bahr C/OMitek, Inc. - 117 McConnell Driie 2 Anderson Drive 1428 Memorial Drive P.O. Box 7359 New Albany IN 471 50 Stony Point NY 10980 Boyle MS 38730 St. Louis MO 63177 812-948-6676 914-786-3049 601-843-61 41 31 4434-1200 31 4434-5403 cornetto, natural trumpet, keyed natural horn trombone, euphonium [email protected] cornetto

Sue Addison Ole-KristianAnderson Ronald Atkins David Baldwin 7 Parsonage Lane Aufvirdderstr. 15 58 Buckley Road 589 Lincoln Ave. Enfield, Middlesex Uberlingen Wellington 3 St. Paul MN 55102 England EN2 OAL Germany D-88662 New Zealand 61 2-624-7877 18 1-367 8 182 181 -367 0946 (NZ)09-383-881 Same [email protected] early trombones cornetto natural trumpet, cornetto

Marea Adessa Ronald Anderson PaulAustin MargaretBanks 15 Cooper Lane 251 West 92th Street #I 1-B School of Music Shrine to Music Museum Chester N.J 07930 New York NY 10025 Northeast Louisiana University 41 4 E. Clark Street (908) 8794881 212-874-0258 Monroe LA 71209 Vermillion SD 57069 Natural Trpt. trumpet, cornetto 31 8-325-0521 H 605-677-5306 605-677-5073 [email protected] [email protected] natural horn

Mark Adler Steve Anderson PaulAvril Bob Barclay 461 67th Ave. N.E. 1329 lnverness Drive P.O. Box 964 3609 Downpatrick Rd. Fridley MN 55432 Lawrence KS 66049 El Granada CA 94018 G lo uceste r, 0n t 6 12-572-8 1 69 913-864-3436 913-864-5387 41 5-726-0713 Canada K1 V 9P4 natural trumpet, cornetto sackbut natural horn 61 3-737-3397 61 3-9984721 [email protected] trumpet-maker

ErikAlbertyn NobuakiAndo Thomas Axworthy Glenn Bardwell 24 Upper Hill Str. Maebara-Higashi 4-1 3-17-201 11057 Valley View Avenue 3 Callandra Wynd, Upwey . Central Hill Funabashicity Chi Whittier CA 90604 Melbourne, Victoria Port Elizabeth Japan 274 310-9464001 714-670-71 54 Australia 31 58 South Africa 6001 81-474-716417 81-474-716417 musicology 03-97526046 61 -392818590 027-41-558622 027-41-504260 [email protected] bass sackbut

horn trumpet a

Renee Allen Hans Angerer Jan Bachmann Keith Barrett MarkgrafenstraRe 33 Wiesenweg 27 Rernne Alle 8 21 B Church Street Emmendingen Axams Viby Sj. Tariffville CT 06081 Germany B-79312 Austria A-6094 Denmark 41 30 860-651-9727 49-7641-31 70 05234-8806 46-19-47-76 trombone/brass Band Natural Horn natural horn CornettoINat. Trpt.

Jon Michael Allsen Friedrich Anzenberger PatriciaBackhaus Bruce Barrie 4209 Hegg Avenue Kirchstetten 44 151 6 Erin Lane 7438 Rogers Avenue Madison WI 53716 Austria A-3062 Waukesha WI 53188 Upper Daay PA 19082 608-221-8827 43-27438630 41 4-549-3227 61 0-352-6273 [email protected] 19th c.brass and tutors [email protected] nat trumpet, cornetto, keyed sackbut Am. Ladies Bands, Helen May Helen Barsby Dave Baum Peter Berggren Diana Bickley Freiligrath Str. 11 66 Winchester Drive 7209 Killdee 8 Palace Court, Palace Road Detmold Elkton MD 21921 Long Beach CA 90808 London Germany D-32756 201 -408-3081(D 310-496-0793 31 0-496-0793 England SW2 3ED 49-5231 -22091 5231-24764 [email protected] natural horn 181 -671 8582 171 -9729494 trumpet trumpet Berlioz, brass

David Barton Hermann Baumann William Berndt Robert Biddlecome 921 5 Forest Hills Blvd Folkwang Horn Ensemble P.O. Box 18535 30 I-incoln Plaza #3N Dallas TX 75218 Leibnizstrasse 10 Kansas City MO 64133 New York NY 10023 214-327-6823 Essen 181 Ketwig 81 6-353-5158 212-977-4787 [email protected] Germany D-45219 [email protected] [email protected] 49-2054-4934 2054-3552 trumpet Trombone natural horn

Peter Barton Tim Beck David Betts Kenneth Biggs Thurland Mill Lane Weissenburgstr. 57 336 Sprague Road #I 02 3739 N.E. Fremont Street Hildenborough Tonbridge Cologne Berea OH 4401 7 Portland OR 97212 Kent Germany 50670 21 6-234-1493 503-335-3649 England TN11 9LU 221 -728293 221 -728293 sackbut biggssl @aol.com 10732-832254 alto saackbut Early Trombone instrument restoration

Joshua Barwick *. -. Wim Becu Clifford Bevan -+ - .. Tony Bingham 1287 Monroe Avenue, Apt. 2 Gaspeldoornlaan 10 10 Clifton Terrace No. 11 Pond Street Rochester NY 14620- Brasschaat Winchester London Belgium 21 30 Hampshire England NW3 2PN 032-3-6515861 England SO22 5EU 0171 -7941596 01 71 -4333662 sackbut 44-1 962-864755 44-1962-86475 instrument ophicleide, serpent,tuba

Michael Bassichis Harry Bell Paul Bevan Martha Bixler 240 Tropical Way 1832 Blue Heron 57 Belsize Park Gardens 670 West End Ave. Plantation FL 33317 West Richland WA 99352 London New York NY 10025 305-791-3266 305-791-2362 509-372-4829 England NW3 4jn 212-877-81 02 212-877-81 02 serpent, tuba [email protected] 0171 -225779 01 71-22 5779 [email protected] Trombone sackbut

Charles R. Bateman Ronald Bell Donald Beyer William H. Bjornes 5306 SE 64th Street 60 Grantwood Drive 64 Heathcote Road 7800 Roberts Rd. Portland OR 97206 Amherst MA 01 002 Linden hurst NY 11 757 Willard OH 43026 cornetto 41 3-549-2844 51 6-957-1537 Trumpet natural trumpet cornetto, serpent, sackbut

-I -: . . Barry Bauguess Brad Benton . . Bibliothek Greg Black 724 Pollock Street 703 Carolyn Avenue Kartausergasse 1, Post 9580 1940 Deer Park Ave., #298 New Bern NC 28562 Austin TX 78705 Numberg 11 Deer Park NY 11729 91 9-636-0476 919-636-2247 51 2-476-8385 H Germany D-90402 516 951 -1 008 51 6 242-6255 [email protected] cornetto, natural trumpet natural trumpet, cornetto David Blackadder AnneBonn DanielBrandell Carolyn Bryant - - 8 NorthHampton Road 1 Earls 6905 McCallum Street Osterlanggatan 23 5206 Chandler Street Northants Philadelphia PA 19119 Stockholm Bethesda MD 20814 England NN6 OHA 21 5-849-3478 21 5-546-5149 Sweden S-11131 301-530-1 632(E 0 1604-81 2-357 [email protected] 46-821-4906 468-21 9294 American bands natural trumpet cornetto natural horn

Lisa Blackmore Bill Bonnell Alois Brander~berg Ralph Bryant P.O. Box 31,106 N. Cherry 256 E. High Street 4569 64th Street Haus Rutli Wright City MO 63390 Philadelphia PA 19144 Detta B.C. HaldelistraBe 3 31 4-745-8231 21 5-843-1096 Canada V4K 3M2 Stafa natural trumpet, cornetto Horn 604-940-3339 Switzerland CHS712 trumpet, band conductor 019266602 natural trumpet,cornetto

Mark Blac kmore Jon Borowicz DonnaBriggs Wilfried Buck P.O. Box 31,106 N. Cherry 16605 Creekside Drive 125 Country Club Road Besselhof 6 Wright City MO 63390 Sonora CA 95370 Chicago Heights IL 6041 1 Hemmingen 31 4-745-8231 209-532-8315 708-754-1886 Germany 30966 cornetto 19th c. brass natural horn 0511-321011 0511-445889 sackbut

1 JackBlanton Frank Bbttger Timothy Brown Mary Burroughs 1 6207 Green Oaks Drive 8 Chemin du Criblet 34 Lincoln Road 107 Dorcus Terrace Austin TX 78746 La Sarraz London Greenville NC 27858 I [email protected] Switzerland CH-1315 England N2 9DL 91 9-758-5987 041-21 -866757 181-36531 83 [email protected] I i sackbut natural horn natural horn,women in music

I Zdravko Blaze kovic, Ed. Edmund Bowles Art Brownlow Ernst B~~ser RlLM Abstracts of Music 321 0 Valley Lane 1283 Turtle Creek Dr. Im Rehwechsel4 , 33 West 42nd Street Falls Church VA 22044 Brownsville lX 78520 Binningen New York NY 10036 703-5324875 (210) 350-5537 21 0-982-01 63 Switzerland C1-14102 [email protected] timpani, iconography [email protected] Tr~~mpetll9th c.slide trumpet

Hans-Jakob Bollinger Susan Bradley PatriciaBrumbaugh George Butler ChutzenstraOe 19 82 The AvenlJe 21 90 Jefferson Avenue Fran kenslag 14-C Bern Hurstville Memphis TN 38104 Den Hague Switzerland CH-3007 Australia NSW 2220 901 -722-9083 H The Netherlands 2582 HR 41 -31 -372 4503 41 -31 -372 4503 02 9585 9363 Horn, 19th C. Bands - butler@koncon-nl Nat. Trpt-ICornett Serpent, Ophicleide, Cimbasso, sackbut

Javier Bonet-Manrique Kent Brandebery Wilhelm Bruns Charles Byler Plaza Puerto IaCruz 7-6 4 159 Yucca Hills Road Weinstr. 27 376 N. Sunrise Lane Mad rid Castle Rock CO 80104 Bad Duerkheim Boyertown PA 19512 Spain E-28029 303-688-4866 Germany D-67098 61 0-367-6780 1-20141 79 34-1-3861 507 post- Civil War brass 49-(0)63226822 natural trumpet natural horn natural horn Roland Callmar Moises Carrasco Steve Charpie Bohuslav Cizek Doernilacher 2 170 Washington Street #410 155 Bonnie Gene Lane Nad Sarkou 15 Geuensee Haverhill MA 01 832 Anaheim Hills CA 92807- Praha 6 Switzerland CH 6232 (508) 714-998-3279 Czech Rebublic 160 00 41 -4521 88 54 [email protected] [email protected] 269451 natural trumpet,natural horn 19th c. brass bands, pipe organs cornet

Murray Campbell CynthiaCarrell RichardCharteris Guy Clark The Latch, Carlops by Penicuik Granbury TX 76048 Music Dept. 31 2 Linden Road Midlothian 817-579-1 41 6 University of Sydney Lake Zurich IL 60047 Scotland EH26 9NH natural trumpet, 19th c. Sydney 708-550-6326 708-937-8271 01968-60530 H 0131 -650-5902 Australia NSW 2006 [email protected] [email protected] 61-(0)2-351367 61-(0)2-660609 natural trumpet. cornetto cornetto,serpent, sackbut, [email protected] musicology Tom Campbell Jackie T.Carter RichardCheetham Andrew Clayden 22 Amsterdam Street 3385 Regalwoods Drive Flat 4 30 Avenue Elm Richmond, Vic. Doraville GA 30340 1 11 Bulwer Road, Leytonstone Shannon. P.Q. Australia 31 21 (770) 938-4438 770-458-0879 London Canada GOA 4N0 6 1-34286073 military bugles, trumpets England El1 1BU 41 8-844-7025 natural horn, builder 44-171-704 171-3591448 sackbut 100422.31 26 @compuserve.com sackbut RaoulCamus StewartCarter StephenChenette Gilbert Cline 14-34 155th Street 1833 Faculty Drive Faculty of Music 1805 Wood St. Whitestone NY 11357- Winston-Salem NC 271 06 University of Toronto Eureka CA 95501 71 8-767-9684 71 8-746-4636 91 0-759-2602 91 0-759-4935 Toronto ON 707-445-11 85 [email protected] [email protected] Canada M5S 1Al cornetto, natural trumpet bands sackbut 41 6-769-2160 H 41 6-978-5771 cornetto,trumpet

JeanPierreCanihac StephenCassidy - RichardChenoweth H. Bmwn Clodfelter 8 rue Maran 79 Humber Doucy Lane 5295 Wheaton Street 6866 Rollingwood Drive Toulouse Ipswichl Suffolk Kettering OH 45429 Clemmons NC 27012 France 31400 UK IP4 3NU 513-439-4327 910-650-8088 0336 1-526 103 33-61553005 44-1 473-71881 1 na~~tralhorn 19 and 20 c brass cornetto cassida@boat. bt.co.uk

Antonio Carlini Gabriele Cassone WalterChestnut Sandra Coffin via Tambosi 24 Vle. Rim. 121 Huntington Road 250 W. 104th Street #84 Villazzano TN Rimembranze di Lambrate 15 Hadley MA 01035 New York NY 10025 ltaly 38050 Milano 413-549-7697 212-222-1 226 39-461-3951 43 Italy 201 34 natural trumpet natural trumpet, cometto 39022153075 natural trumpet, keyed trumpet

Simon Carlyle David Chamberlain PeterChristensen Joshua Cohen Top Flat, 23 Marchmont Rd. 100 Park Terrance West 6G 1205 rue Cardenville 87 Gainsborough Street #403 Edinburgh New York NY 10034 Longueuil, P.Q. Boston MA 021 15 Scotland, UK EH9 1HY 212-569-631 9 Canada J4K 3B8 natural trumpet 031 -229-4197 sackbut 51 4-679-3708 sackbut, cornetto Victorian Brass sackbut Kathryn Cok Frankcone AlexandraCook RobertCronin 8249 166th Street 948 Holly Court 390 Riversider Drive Apt. 4G 360 Marmona Drive Jamaica NY 11432 Banning CA 92220 New York NY 10025 Menlo Park CA 94025 71 8-969-8303 909-849-8834 H 61 9-778-8937 212-662-6585 41 5-323-3436 harpsichord cornetto natural horn sackbut

John Cotegrove lnginoconforzi Timothy Cooper Sara Cronin 5613 M Hornaday Rd. Via Copa di Luca, 4 748 Woodspring Court 21 8 Simpson Road Greensboro NC 27409 Bologna Beavercreek OH 45430 Rochester NY 14.617 91 0-294-1291 Italy40126 51 3-257-9911 (D 51 3-257-2284 716-544-5451 jdcolegr@ hamlet.uncg.edu 39-51-333871 39-51 -333871 [email protected] sackbut trombone [email protected] 19th c. brass natural trumpet

Peter Collins James P. Conner Reed Co&o Louise Crowley 132 Saint Johns Road 93 Playstead Road 14 Horton Street 708 West 171 Street, # 246 Toronto, Ontario Medford MA 021 55 Norwalk CT 06851 New York NY 10032 Canada M6P 1T9 61 7-396-2523 203-847-0318 (212) 923-2731 41 6-761-9070 sackbut, cornetto,serpent natural horn maker Natural Horn sackbut

Timothy Collins CharlesConrad Arthur Cowden Tom Crown 1259 Nicholson Avenue 41 0 Second Avenue, NE 6290 SW 11 4th Street 3907 Howard Avenue Lakewood OH 44107 Carmel IN 46032 Miami FL 331 56 Western Springs IL 60558 21 6-221-3938 31 7-8444341 31 7-84-21 26 305-661-6002 708-246-6327 708-246-6314 tacid @ pd.cwru.edu [email protected] sackbut, serpent trumpet,cornetto natural trumpet, cornetto cornet, trumpet, horn

Michael Collver JudithConrad Todd and Craven PhilippeCuendet 14 King Street 106 Warburton Street 7898 Fairfield Road Rte. du Solei12 Lexington MA 02173 Fall River MA 02720 Oxford OH 45056 Villars s/Glane 61 7-863-9652 61 7-863-5814 508-674-61278 51 3-523-3291 Switzerland CH 1752 cornetto cornetto,piano tuning and Trumpetrrrombone 03741351 0 sackbut

David Collyer Laura Conrad Brian Crist Stanley Curtis 17 Northrn Avenue 233 Broadway 248 Runswick Street Avenida Finisterre 260-6C East Brighton, Vict. Cambridge MA 02139 Rochester NY 14607 La Coruna Australia 31 87 61 7-661-8097 Spain 15010 61 -3-5967518 61 -3-5967518 [email protected] natural trumpet

Abbie Conant DerekConrod Matthew Cron Stanley Curtis Alte Steige 4 96 Water Street 161 Goodman's Hill Road Avda. Fin isterre 260--66 Epfendorf Stratford On Sudbury MA 01776 La Coruna Germany D-78736 Canada N5A 3C2 508-443-9497 Spain 1501 0 (01 149)74O4-85 (01 149)7404-8 51 9-271-1 81 0 [email protected] [email protected] [email protected] organ, trumpet sackbut natural horn Reine Dahlqvist Allan Dean Mark Dodson RichardDundas Hemgardesvagen 4 P.O. Box 1 37 Rt. 1, Box 109 31 North St. Ext. Goteborg Monterey MA 01245 Saltillo TX 75478 Rutland VT 05701 Sweden S-416 76 41 3-528-9312 4.1 3-528-9312 cornetto,natural trumpet 802-775-4558 46-31-260668 cornetto,natural trumpet [email protected] trumpet, horn, history brass collector, trumpet

I Charla Dain Don Dearholt Donna Dorn RobertDupree 2802 Dancy Street P.O. Box 6267, 2843 Valley Woods Road 5739 Northmoor Drive Austin TX 78722 Mississippi State MS 39762 Hatfield PA 19440 Dallas TX 75230 I 5 1 2-451 -7051 601 -323-4952 2 1 5-822-6640 2 1 4-369-8460 1 1 [email protected] [email protected] natural trumpet [email protected] cornetto,natural horn trumpet, cornetto, horn

. r- MarkDal Pozzo James DeCorsey Kathleen Dougherty FrankH.Ebel 71 0 St. Louis Street 830 E. Minor Street 70 Sunset Road 601 8 Health Valley Road Hillsboro IL 62049 Appleton WI 5491 1 Massapequa NY 1 1 758 Charlotte NC 28210 21 7-532-6496H 41 4-735-161 5 51 6-798-3369 (704)552-5970 (704)643-2945 trombone, band history natural horn natural horn all brass

MatthewDalton Serge Delmas Dennis Douglas PeterEcklund

1 21 31 SE 91 st Street 1 1 Rue Des Primeveres 400 Balboa Blvd. ' 130 West 16th Street Apt. #55 Newcastle WA 98056 Meru Half Moon Bay CA 9401 9 New York NY 1001 1 206-277-6585 France F-60110 41 5-726-9157 21 2-463-0830 [email protected] 33-44-2211 0 trumpet, comet natural trumpet, cornet natural trumpet cornetto maker, trumpet

Peter Dawson Bryan DePoy Peter Downey F. Neal Eddy 184 Taylor Rd. Box 3256 Dept of Music 56 Oakhurst Avenue, Black's 366 Winter Street Ancaster,Ontario Delta State Universtty Belfast Weston MA 02193 Canada L9G1 PI Cleveland MS 38733 N. Ireland BT10 OPE winds, acoustics 41 6-648-2261 601 -846-4608 01 232-620256 natural trumpet trumpet- Medieval to Baroque

RobertDawson Bruce Dickey PhilipDrinker G. Norman Eddy 127 Downey Street Via Falegnami, 6 48 Cedar Road 31 Bowdoin Street San Francisco CA 941 15 Bologna Belmont MA 021 78 Cambridge MA 021 38 41 5-566-9610 Italy 401 21 61 7-484-6207 61 7-484-6207 61 7-354-6386 cornetto , nat trumpet 051 -263068 051 -266192 Horn, maker ophecleide, keyed bugle, d [email protected] cornetto

Sophie de Dbtmude Luther Didrickson Ralph Dudgeon David Edwards Philippou 21 15 Ridge 5745 US Rt. 1 1 5 Holly Ridge, Fenns Lane Rivel Evanston IL 60201 Homer NY 13077 West End, Woking France 1 1230 708-866-8757 607-749-7346 607-749-7346 Surrey 68-692718 cornet [email protected] England GU24 9QE slide trumpet, sackbut keyed bugle, cornetto, natural 014867-89630 natural trumpet and maker David H. Edwards Thomas Ekman MeredithEpstein Joan Feigenbaum

' 439 Linden Street Giggatan 12 7 Ellis Drive 148 W. 23rd Street San Francisco CA 941 02 Malmo S yosette NY 1 1791 New York NY 10011 41 5-552-3362 Sweden S-212 42 (516) 496-3238 21 2-627-3820 212-627-3820 [email protected] natural horn meredithhEpstein@dartmouth [email protected] cornetto Natural Trumpet mathematician

Joanne Edwards Jacqueline Ekstrand MarkErdmann Dennis Ferry R.R.2, Box 41 6 1912 Walker Avenue 1816 Westhill 8 ch. des Buclines Johnson VT 05656 Greensboro NC 27403 Westlake OH 44145 Geneva 802-635-2054 91 0-275-7536 41 9-354-2098 Switzerland CH-1224 jsc [email protected] [email protected] [email protected] 41 -22-7358501 41 -22-348426 natural trumpet, 19th c. Natural Horn natural trumpet

Melissa Edwards - Niles Eldredge Johr~Ericson David Fetter 4326 Trinity Avenue 433 East Saddle River Road 601 Village Trace Court 341 3 Oakenshaw Place Greensboro NC 27407 Ridgewood NJ 07450 Nashville TN 3721 1 Baltimore MD 2121 8 91 0-547-0851 (212) 769-5723 21 2-769-5783 6 15-31 5-9280 41 0-659-8138 horn, opera cornet, trumpet natural horn [email protected]

Reiner Egger Robert E. Eliason Stephen Escher Henry George Fischer Turnerstr. 32 43 Pico Road 877 Sycamore Drive 29 Mauweehoo Hill Basel Lyme NH 03768 Palo Alto CA 94303 Sherman CT 06784 Switzerland CH4058 603-79541 18 4.1 5-725-1147 41 5-725-1145 203-354-2719 061 -681 4233 [email protected] [email protected] sackbut,slide trumpet, tenor instrument maker ophicleide, serpent, bass horn cornetto

Gary Eiferman David Elliott KathleenFarner Robin Fischle 525 West 50th Street 702 Franklin Avenue 74 Orchard Rd. N. Univ. Conserv of Music New York NY 10019 Lexington KY 40508 Tacoma WA 98406 - Auckland Street 606-252-3176 H 606-258-1050 206-535-7607 206-535-8669 Newcastle [email protected] horn Australia 2300 natural horn 049-516524 049-265450

EinarEinarson Randy Emerick William Faust David Fitzgerald 91 1 Hillcrest Avenue P.O. Box 4501 11 7410 Earlsford Drive 3937 Grove Street Grand Forks ND 58201 Sunrise Flo 33345 Dublin OH 4301 7 Western Springs IL 60558 701-775-9805 H 954-741 - 1892 6 14-841 -202 1 312-246-3258 trumpet, horn , keyed brass serpent,tuba, cornetto, trombone

Reinke Eisenberg Dana Emery James Fegley . Werner Flachs EDITION PICCOLO 931 9 Woodberry St 400 W. 37th. Street Hehlstrasse 15 Miegelweg 20 Seabrook MD 20706 Reading PA 19606 Langnau a.A. Hannover 301 -577-4806 301 -238-3059 61 0-779-0665 Switzerland CH-8135 Germany D-32760 [email protected] 01-71 30056 01-71 30240 49-51 1497771 ( 49-511-497779 Renaissance winds natural horn 101455,[email protected] all, sackbut, brass chamber Mark Flaherty John Frisch William Gilmore Donna Gouger 11 1 Park Street #6J 4927 Pepperwood Drive 12 Birket Road 14 Taunton Terrace New Haven CT 0651 1 Dayton OH 45424 West Kirby Dalton MA 01 226 203-777-1930 51 3-237-2784 Merseyside - 41 3-684-2490 trumpet, cornetto Trumpet England L 48 5 HS trumpet gil02@ liv.ac.uk

Michael Flynt Gary Clallt Sid Glickman Jean Goujon 520 112 N. Gilbert Street 5439 Carpenter Street 42 Butterwood Lane East N. 14 Saint Germain La Riviere Iowa City IA 52245 Downers Grove IL 6051 5 Irvington NY 10533 Le Bourg 31 9-335-1631 708-960-2139 9 14-59 1-537 1 France 33240

[email protected] Tuba,euphonium, lyzard collector 33-57-848 148 * - cornetto

Bernard Fourtet Michel Garcin-Marrou MichelGodard JamesGray 24, rue Capus 141 Rue Gabriel Peri 8 Rue 'rhiers P.O. Box 97 Toulouse Chennevieres Monthyon Lafayette CO 80026 France f-3 1400 France 94430 France 77 122 303-666-9846 61 251 355 31 -45-93-24-65 1-45-93-24-65 33-1-6436 1671 33-1-64362645 sackbut, late renaissance natural horn serpent, cornetto

Bobby Fox GregoryGarrett '. BryanGoff " DanielG reen 10579 La Vine 1921 Haven Lane School of Music 37 Oxford Street Alta Loma CA 91 701 Dunkirk MD 20754 Florida State Univiversity Hartford CT 06105 310-948-9723 (410) 257-3323 Tallahassee FL 32306 860-231-1 827 serpent cornetto,voice, lute, baroque 904-385-0639 [email protected] [email protected] sackbut natural trumpet

Floyd Frame RichardGeorge MaximilianGoldgruber David Green 201 3 Hercules Drive 930 Burridge Court Plazerstr. 6 Antique Sound Workshop . Colorado Springs CO 80906 Libertyville IL 60048 Munchen 70 70 Lakewood Drive 7 19-632-2009 847-367-1365 847-367-1375 Germany 0-81375 Plymouth MA 02360 ophicleide, keyed brass 089-7141 984 089-1497568 508-833-3979 508-833-3760 comet, patents, echo and special [email protected] all historic brass

'Thomas Freas RonaldGeorge RobertGoodman Keith Green 190 Route 37 South 1878 Clarence St. 9 Purdue Drive 21 0 West 82nd Street #3E Sherman CT 06784 Sarnia, Ontario Delran NJ 08075 New York NY 10024 203-355-3909 Canada N7X 1C8 609461 4199 21 5-697-6028 21 2-724-3435 natural trumpet 51 9-542-1064 [email protected] trombone horn natural trumpet

Gerhard Fries JimGhighi HitoshiGoto David Greenhoe 172 Yackatoon Road 402 Great Glen Rd. 6-15-1 0 Ogoto 201 5 Laurence Court NE Upper Beaconsfield Greenville SC 29615 Otsu, Shiga 520-01 Iowa City IA 52240 Victoria 864-268-261 6 Japan 31 9-338-4623 Australia 3808 Alphorn,cornet 8 1 -775-783078 81 -775-79-807 cornetto,n atural trumpet, bugles [email protected] GO1 384Qsinet.ad.jp horn LorenzoGreenwich, Jr. MarciaGrumme Doug Hall Ole K. Hanssen 1 P.O. Box 723 808 Dolores 3633 Indiana Street #4 Grensefaret 18 Lynbroo k NY 11 563 San Francisco CA 941 10 San Diego CA 921 03 Slependen 51 6-593-1923 41 5-282-5723 natural horn Norway 1312 keyed bugle [email protected] 47-66849519 47-66849605 sackbut,cornetto, slid trumpet sackbut

Timothy Gregg Vincenzo Gugliuzza Jon Hall Frank Harmantas 8030 Elkick Falls R2 8340 63th Avenue 102 Ashmont Street 136 Glenforest Road Lexington KY 40515 Middle Village NY 11 379 Portland ME 04103 Toronto, Ontario 605-263-9849 71 8458-3872 207-775-3665 Canada M4N 1Z9 Nat Horn trumpet Brass Bands 41 64824258 [email protected] I sackbut i George Gregory DavidGuion YoshimichiHamada Ben Hams 132 Linda Drive 55 Lombard Circle 3-10-23 Sendayi HC 65 Box 123A San Antonio TX 7821 6 Lombard IL 60148 Bunkyo-ky Great Barrington MA 01230 21 0-822-0416 21 0-822-1527 630-620-7118 Tokyo 4.1 3-229-7720 41 3-229-2983 [email protected] trombone Japan 113 Percussion Med.slide trumpet ,sacbut 03-3821-1 072 cornetto

RobertGrier Karl Hachenberg Dave Hamburg Vernon Harp, Jr. 31 25 Masonic Drive Alte Poststrasse 11 2521 Brambleberry Ct. 1020 Union Street, Apt. 5 Greensboro NC 27403 WissenISieg Bettendorl IA 52722 San Francisco CA 941 33 91 0-854-0275 Germany D-57537 31 9-359-0135 41 5-771-7522 high brass, allages andtupes 02742-5835 [email protected] keyed bugle, trumpet metalurgy technician Trpt., Baroque &since

JanetGriffith Matthew Hafar Andrew Hammersley Donald R. Harrell 2132 Curtis Street 949 Dutton St. DavidsbodenstraBe 29 5884 New Meadow Drive Laramie W 82070 Winston-Salem NC 271 01 Basel Ypsilanti MI 48197- 307-742-7034 Switzerland CH4056 31 3-483-2630 31 3483-2617 [email protected] 41 -61-322 49 56 41 -61322 06 [email protected] trumpet, slid trumpet, cornetto BaroqueTrpt/Hn/Cornet natural trumpet, 19th c. brass

Harold Griswold Douglas Haislip Karen Hansen Daniel Harris Music Dept. 5 Sunset Drive 165 Bennett Avenue 51 7 S. First Street Towson State University Chatham NJ 07928 New York NY 10040 Ann Arbor MI 48103 Towson MD 21 204 201 -701 -0674 201 -701 -0674 21 2-567-3529 (313) 769-6941 41 0-252-5775 natural trumpet sackbut, bowed strings Sackbut [email protected] cornetto

ErnestGross - Dietric h Hakelberg Richard Hansen - Jonathan Harris 729 North Sixth Street Widdum 1 73 Dunhamtown Road 1 165 McDonald Drive Sterling US 67579 lmmenstaad Brimfield MA 01 069 Pinole CA 94564 31 6-278-2369 31 6-278-2775 Germany D-88090 41 3-283-4997 41 5-724-3212 [email protected] 074-542498 44-734-314404 Instrument repair [email protected] natural trumpet, cornetto cornetto, archeology cornetto Ralph Harris Douglas Hedwig Sheldon Hendler Richard van Hessel 1216 Stutz Drive 255 W. 95th Street #3A 2159 Avenida de la Playa 505 Cypress Point Drive #33 Albuquerqaue Mn 871 12 New York NY 10025 La Jolla CA 92037 Mountain View CA 94043 505-291-8276 2 12-662-942 1 2 12-662-942 1 6 19-459-9386 6 19-459-9522 41 5-969-171 6 Civil War Brass natural trumpet, cornetto trumpet,cornet, fluegelhorn [email protected] sackbut, slide trumpet

Bob Harrison D. BruceHeim Ralph Henssen Dane Heuchemer P.O. Box 723 School of Music, LSU Diezestraat 45 3525 Linwood Avenue Apt. 4 Middle Island NY 11953 1913 Dabney Dr. Oost-Souburg Cincinnati OH 45226 5 16-369-3642 Baton Rouge LA 7081 6- Netherlands NL4388 SG 5 13-32 1-8067 horn (504) 504-388-2562 31 -1 18469134 musicology bheim@unixl sncc.lsu.edu trumpet, cornetto horn

._ Ian Harrison Norman Heim Trevor Herbert Herbert Heyde -* Inselstr. 13 Music Dept. Open University in Wales Metropolitan Museum, Music Kirchzarten University of Maryland 24 Cathedral Road 82nd St. & 5th Ave. Germany 791 99 College Park MD 20742 Cardiff New York NY 10028 49-7661 -6489 31 4-882-3565 314-442-9476 Wales, UKCF1 9SA history brass instruments cornetto, shawms horn 0 1222-626280 0 1222-626280 [email protected] sackbut Thomas Hasselbeck DanielHeiman Jean-Jacque Herbin Daryl Hickman Briider-Grimm Str. 38 407 Drake 5 Rue de la Pabc 1508 E. Walnut Street Libertyville IL 60048 Eaubonne Columbia MO 65201 Germany 60385 708-367-9215 France F-95 600 314-882-4338 314-449-0757 69-445 156 Euphonium, recorder, lute, tuba 33-1-39-59-06-5 [email protected] [email protected]. sackbut Serpent cornetto

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.. - Robert Hazen Anders Hemstrdm ' Grant Herreid Tom Hiebert Robinson Professors-106 Lundhagsragen 49 John Cage House 101 0 E. Vassar 10430 Masters Terrace 0rebro S-7 Gate Hill Co-op Road #23 Fresno CA 93704 Potomac MD 20854 Sweden S-124 45 Stony Point NY 10980 209-278-4096 209-278-6800 301 -299-8036 202-686-2419 047-6252-1077 9 14-786-7425 [email protected] [email protected] w.edu natural trumper cornetto,natural trumpet, lute natural horn nat.trumpet, keyed bugle,

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Ron Nelson Paul Niemisto Haydn Oakey Ugo Orlandi 427 Bedford Road St. Olaf College The Nook, Main Road Via A. De Gasperi 35 Pleasantville NY 10570 Northfield M\1 55057 Little Waltham Monticelii Brusati 91 4-769-2830 91 4-741-0384 Ameriikan Poijat Chelmsford, Essex Italy BS 25040 70544.2631 @compuserve.com England CM3 3PA 030-6527061 030-6527061 cornetto, sackbut, nat.trrpt 01 245-360392 cornetto, natural trumpet french horn

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r .-C- J .J. Newberry Clyde Noble . - Stefan Oetter Francis Orval 781 Railroad Ave. 766 Riverhill Drive Kestnerstr. 26/54 141052 Bd Piercot Roebling NJ 08554 Athens GA 30606 Bad Elster Liege 908-308-9028 706-543-4559 Germany D-08645 Belgium 4000 all early brass Civil War Bands 037437-46408 49-077 1-1 4495 49-7425-9491 horn Nat. Horn Frederick Oster Roger Parker Rinaldo Pellizzari Hans C. Peterson 1529 Pine Street 4 Stirling Street San Girolani 6301 James Avenue South Philadelphia PA 19102 Tusmore Desenzano (BS) Minneapolis MU 55423 21 5 5451 100 Australia 5065 OZ Italy 2501 5 612-866-6033 6 1-8-3322538 6 1-8-31 2 124 030439289 1 serpent, ophicleide, saxhorn maker, horn History of Trunipet

Arno Paduc h Andrew Parrott Bryce Peltier Brian Pfoltner Holbeinstr. 41 Mill Farm 2445 East lVob Hill SE 4032 N. 68th Street Leipzig Stanton St. John Salem OR 97302 Llncoln NE 68507 Germany 04229 Oxford 503-391-71 21 402-467-2052 0341 -480 1329 England OX33 1HN sackbut [email protected] [email protected] 44-1 865-351-73 44-1 865-351-7 trumpet, 19th c. cornetto conductor

William Frankpage - Brigitte Passavant - Laurie Penpraze -WilliamA.Pfund - 5302 Washington Blvd. Nonnenweg 14 7898 Fairfield Road 35629 Weld Country Road #4.1 Arlington VA 22205 Basel Oxford Ohi 45056 Eaton CO 80615 Switzerland CH4055 51 3-523-3291 51 3-529 3027 970454-2642 H 970-351-1 923 061 -271-94-79 sackbut trumpet sackbut

Robert Pallansch NigelPaul MauricePeress Johnny Pherigo 2808 Woodlawn Avenue 40 Vauxhall Road, Northcote 240 E. 55th Street 421 Creston Avenue Falls Church VA 22042 Melbourne New York NY 10022 Kalamazoo MI 49001 703-532-0137 Australia 3070 61 6-387-4692 61 6-349-2281 19th c.tuba, ophicleide, serpent 61 -3-94861 1 38 6 1-3-9486 11 38 [email protected] cornetto, natural trumpet natural horn

Craig 8.Parker Ian Pearson Ramon Perez Peter Piacquadio 2608 Marque Hill Road 344 College Avenue Bustos Tavera 1140 DCHA 26 Pomona Lane Manhattan KS 66502 Rock Hill SC 29730 Sevilla Suffern NY 10901 91 3-5325740(D) 91 3-532-7004 803-323-4607 803-328-5829 Spain 41 003 914-354-0855 cpb@ ksu.edu [email protected] 95-456-2075 954563589 trumpet 19th c. brass music, trumpet, cornetto, 19th c. sackbut

David Parker Paul Pease Paul Perfetti " Edward Pierce 1953 SE 20th Ave. 4378 Harvest Lane 340 Belgrade Ave. 109 Monroe Street Portland OR 97214 Houston TX 77004 West Roxbury MA 02132 Fort Atkinson WI 53538 [email protected] 7 13-747-4344 71 3-743-2053 61 7-469-3723 41 4-563-5202 ppease @ uh.edu [email protected] 19th c. brass, instrument horn natural trumpet, cornetto

Matthew Parker ArthurPecht Nicholas Perry ,. Terry Pierce 6 Greenwalk 125 Lincoln Street 20 Queen Street 180 Claremont Avenue #64 Berkhansted, Herts South Bound Brook NJ 08880 St. Albans, Herts New York NY 10027 England HP4 2LW 908-627-9546 H 908-627-9546 England SG3 6DJ 21 2-666-9789 44-1 442-872761 [email protected] 01 72 786 sackbut, repairlrestoration sackbut Cornetto,horn, instrument maker Jon Piersol Christian Pointet George Poynor Bruce Randall School of Music W D'Etraz 5 1599 Thornwood Street 21 8 Broadway Florida State University Bole Wheaton IL 601 87 Haverhill MA 01 832 Tallahassee FL 32306 Switzerland 2014 708-690-2150 508-373-5852 904-644-4361 904-644-6100 0041-3825-783 sac kbut,serpent, tenor cornetto Journal Band Research cornetto, natural trumpet

Tod Pike Frar~kPoitrineau BenjaminPringle Harvey Randall 3030 Kane Road 77 Rue Pellebort 6724 Abrego Rd 3701 W. Broadway Aliquippa PA 15001 Paris Galeta CA 32308 Muckogee OK 74402 41 2-378-3794 412-268-5758 France 75020 805-685-2860 91 8-485-4254 [email protected] natural horn cornetto

RobertPirtle Keith Polk Richard Pringsheim G illes Rapin 2254 Rock Creek Circle 13 West Shore Drive Musica Rara 17 rue des Papillons Paducah KY 42001 Nottingham NH 03290 Le Traversier Chemin de la Buire Montreuil 502-554-6975 502-442-5409 603-679-1459 603-862-3155 Monteux France 931 00 bugle, valve, military sackbut France 841 70 33-1 -48579742 90-65-47-51 90-65-33-90 all trumpet

Steven Plank Joe Pollard Doug Puthoff Mary Rasmussen 279 Oak Street 3600 Donna Road 2352 Windsor Village Dr. 12 Woodman Road Oberlin OH 44074 Raleigh NC 27604 Miamisburg Ohi 45342 Durham NH 03824 21 6-774-7884 91 9-872-3677 937-434-3605(E 937-434-2970 603-868-2406(H [email protected]. trumpet, cornet viola da gamba, organ natural trumpet, cornetto,

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-. Paul R.C. Plunkett - ' StanislavPotchekansky RobinsonPyle J. Richard Raum Im Grafenstein 28c Complex 'Liulin" 11 Holworthy Place 88 Angus Crescent Winterthur BI. 423-B-Ap.48 Cambridge MA 021 35 Regina Switzerland CH-8408 Sofia 61 7-354-4405 Saskatchewan 0041 -52-202029 041 -52-202029 Bulgaria 1359 robinsonp@ aol.com Canada S4T6N2 natural trumpet, 19th c. brass 359-2-24-24-90 natural trumpet, cornetto, 306-525-55 Trbn./all brass sackbut, euphonium, bass

Fritz Pohl Darryl Poulsen Mack Ramsey Ruth Redfern Trischenring 7 Head of Brass 14 Second Street 14 Shirley Ave. Brunsbuttel School Music, University of Natick MA 01760 Tranmere, S.A. Germany D-25541 Nedlands WA 508-655-2597 Australia 5073 serpent, ophicleide Australia 6907 [email protected] 336-221 6 61 -9-3801076 61 -9-3802058 sackbut cornetto [email protected] Matthew J. Redsell, Editor Ernie Rideout Gabriele Rocchetti Kelly Rossum Continuo Magazine 2517 Easton Drive Via Mezzera 57 2020 22nd Avenue South, #309 P.O. Box 327 Burlingame CA 94010 Seveso (MI) Minneapolis M\1 55404 Hammondsport NY 14840 41 5-655-4128 ltaly 20030 ??? -339-0393 607-569-2489 362-504536 Natural Trumpet harpsichord horn

RebeccaReese Alan Ridgway Donald Roeder Viola Roth Froburgstrasse 26 76 Summerwalk Place 468 W. Old York Road 9245 E. Woodview Drive Basel Nepean, Ontario Carlisle PA 17013 Bloomington, IN 47401 Switzerland CH-4052 Canada K2G 5Y5 717-243-9023 812-333-0167 812-337-0118 0611312 38 15 228-2815 [email protected] cornetto,voice natural trumpet natural horn

William Reichenbach Robert Rieder William Rogan David Rubin 2751 Westshire Drive 871 6 North Central Park Erlenbruch 19 2582 Kendall Hollywood CA 90068 Sko kie IL 60076 Breckerfeld Shaker Heights OH 44120 21 3-856-0260 21 3-462-7477 847-674-3560 847-674-3560 Germany D-58339 51 2-447-4429 [email protected] [email protected] 0233813412 dsru [email protected] trombone,euphonium,tuba natural trumpet, cornetto natual horn cornetto, recorder, shawm

Tom Reicher Francis Riesz Gregory Rogers John Rutherford 1077 Farmington Avenue 231 Sandy Ridge -Mt. Airy Road 1 1 Kelsey Street 1813 Willowtree Lane, Apt. A2 West Hartord CT 061 07 Stockton NJ 08559 Coorparoo, Brisbane Ann Arbor MI 48105 860-275-0194 860-275-0343 604-397-0829 Queensland 31 3-213-2868 Horn 71062.22568COMPUSERVE.COM Australia 41 51 [email protected] Cornetto 07-3983109 07-398-3034 trumpet cornetto

Brian Reilly F. Chester Roberts Keith Rogers Frlts Ruwhoff 160 Old Concord Road 592 Essex Avenue 37A Davenport Road, Catford Schimmelplein 4 Keene NH 03431 Gloucester MA 01 930 London Utrecht 508-283-1887 England SE6 2AY Netherlands 3532TD all brasses 01 81 -2444928 31 -30-945873 cornetto, serpent maker sackbut

Dr. Hank Reiter Richard J. B. Robinson William Rogers Bob Ryan East Hills Consultation Ctr. C/OCrystal Lodge 108 Midway Avenue 34 Spec Pond Ave. 70 Glen Cove Road #209 10-12 Crystal Road Bryan TX 77801 Lancaster MA 01 523 Roslyn Heights NY 11 577 Blackpool - Lanes 409-779-6433 508-840-1845 61 7-926-4900 51 6-299-2002 Eqgland FYI 6BS [email protected] [email protected] trumpet 01 253-34 66 91 sackbut, cornetto brass collector ,brass band

Joan Retzke Trevor Robinson Michel David Rondeau Paul W. Ryan Kreuzgassa 50 65 Pine Street 734 Nobert, Gatineau 737 Woodhaven Road Chur Arr~herst MA 01 002- Quebec Macon GA 31204 Switzerland CH-7000 41 3-549-6888 Canada J8R IT4 9 12-477-7965 41 -81-27-72-65 [email protected] 819-568-31 54 trombone natural trumpet, voice all winds natural trumpet David Rycroft Armin Schaer, M.D. Karl Schreiber - .- JeanSeiler < - Ashdown Cottage Oberberghofstr.44 Johann Straussgasse 14 30 Burnett Street Chapel Lane,Forest Row Blaustein Ebendorf Glen Ridge NJ 07028 East Sussex Germany 0-89134 Austria A-21 30 201 -746-0940 201 -746-5462 England RH18 56s 07304-42579 43-25724730 seiler@ planet.net 44-134282-2044 tuba, ophicleide [email protected]. natural trumpet horn

Susan Salminen Hans-GeorgSchaub BradSchwartz MarcioSelles RR 1, Box 3780 Oberer Rheinweg 87 4604 Northbrook Drive Condominio UBA Pendotiba Enosburg VT 05450 Basel Toledo OH 43623 Rue 2 , Lote 25, Quadra 3 802-933-2354 802-635-9745 Switzerland CH4058 41 9-882-4607 Niteroi RJ natural horn 061-692-97 cornetto Brazil 24320 bass sackbut 55-21-61 621 00 sackbut

Carolyn Sanders Louise Schepel Annegret Schweizer Rickseraphinoff Dept. of Music, Roberts Hall Paradysstraat 93 Kleine Zapfholdern 9245 E. Woodview Drive University of Voorburg Reigoldswil Bloomington IN 47401 Huntsville AL 35899 Netherlands 2275 EM Swetzerland CH4418 8 12-333-0 1 67 8 12-337-0 1 1 8 205-534-0319 070-3954637 61 -941-21 25 [email protected] [email protected] natural horn cornetto natural horn ,maker Baroque trumpet, performance,

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. , .- Kevin Saunders EngelbertSchmid Howard Scudder -. Robert Sheldon 1008 N. Palm Street KohlstattstraRe 8 314 Hilldale Lane cloMusic Div., LM 113 , LittleRockAR 72205 Kirchheim-Tiefenrie Clarksville IN 37043 Library of Congress 501 -374-2376 501 -374-5603 Germany 0-87757 61 5-551-8241 Washington DC 20540 trombone 49-8266-1579 43-8266-1874 natural trumpet 202-707-9083 202-707-0621 horn maker General

Stephen Saunders MartinSchmid Andrew Seacord II Doron Sherwin Holly Cottage Blechblasennoten 41 17 Woodhaven Lane Via Stringa 14 Nutley Jennerstrasse 4 Bowie MD 2071 5 Modena East Sussex Herrenberg-Kuppin 301 -805-9741 Italy 41 100 England TN22 3LL Germany 0-71083 horn 39-(0)59-34292 01 82-571-2397 01 82-571-21 03 070-32-35084 070-32-35034 cornetto sackbut

William Scarlett PaulSchmidt David Seals EdwardShineman 2406 MacArthur Dr. 21 03 Woodlane 1038 Shore Road 31 Atkinson Lane McHenry IL 60050 Lindenhurst IL 60046 Linwood NJ 08221 Sudbury MA 01 776 81 5-385-8154 847-356-7865 (609) 653-0753 508-443-2123 508-443-0945 cornetto,natural trumpet, 19th c. serpent, ophicleide, history Nat. Trpt./Cornet cornetto Clyde S hive PeterSmalley Don L.Smithers ScottSorenson 51 5 Childs Avenue Northamptonshire Music 55 Van Houten Fields 115 S. Spruce Street Drexel Hill PA 19026- 125-129 Kettering Road W. Nyack NY 10994 Traverse City MI 49684 61 0-622-0869 61 0-623-8808 Northampton 91 4-358-2632 61 6-947-1700 61 6-922-6699 19th cent. band ,US England NN1 4A2 nat. trumpet, cornetto, history [email protected] 0604-3711 7 0604-603070 natural trumpet trumpet, cornet

-, R. WayneShoaf Andy Smets Jeffrey Snedeker JamesSouth 401 8 Camero Avenue #6 Tirr~balLodge 404 IVorth Sampson 128 Jami Avenue Los Angeles CA 90027 Tubbs Lane, Highclere Ellensburg WA 98926 Weatherford OK 73096 21 3-740-4088 21 3-746-4507 Newvury, Berks 509-962-2977 509-963-1239 405-772-0122 [email protected] England RG1 59PR [email protected] [email protected] horn 0635-254789 natural horn, cornetto sacbut natural trumpet, early valved tpts. natural trumpet, cometto

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J effsilberschlag C hristophersmith ArthurSomers David Spies 102 Boaz Street 121 Brookville Park 1742 First Street 1407 Bernard Street #207 Lexington Park MD 20653 Drogheda Co. Lake Placid FL 33852 Denton TX 76201 301 -862-9487 Ireland 81 3-465-9457 81 7-591-9244 natural trumpet 041 -33591 trumpet des0007@jove,acs.unt.edu brass band, all brass repairs serpent, 19th c.brass,ophecleide

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James Stehn James Stickney E. BradleyStrauchen Wolfgang Suppan 562 Meadow Lane USM PO Box 2256 Inst.fur Musikethnologie Pomona CA 91 767 807 Wood Hall 8 King's Court Leonhardstrasse 15 714-626-2394 Gorham ME 04038 Park City lJT 84060 Graz, Pf. 208 nat.trumpet, cornetto, sacbut 207-78-????? Austria A-801 0 [email protected] 0316-389-1 123 0316-32504 trumpet musicology

Peter Steidle DanielStillman Gregory Streuber MatthewSutherland Eduard Ruppel Strasse 22 32 Corinthian Road 1298 Park West Drive #8 190 Curtain Street Frankfurt Am Main Somerville MA 02144 Greenville NC 27834 North Carlton Germany D-60320 61 7-628-3614 617-628-361 4 91 9-754-2147 Austrailia 3054 49-69-5602696 sackbut, shawm [email protected] natural horn trumpet, natural tpt.

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