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Minor Fro feasor

*jyuj Iran of fcha SehooSf '®T Ifuaic

at* School THE nmmm of mm THSKPET FM MMMA

THKSIS

Presented to tim Sraiwat® Council of tfao Horth Tmi Stmt® College la Partial FulfilJUMmt of th* Requirement*

Forfcho Degre e of

MASTER OF MCSIC

Robert S. Douglaee, B* tf« 1/ Br®@fe®urlig®» Texaa August» 1953

/. ^ PREFACE

The purpose of this study is to present the development of the trumpet from the primitive lip-vibrated instruments of aneient cultures to the baroque trumpet 011 which were performed the astounding parts composed by the culminating figures of that period, Baoh and Handel# The considerable interest displayed in the music of the baroque period and the recent revival of mch of it in modern performance demands an investigation of the instruments upon which it was performed, among which one of the least understood is the trumpet. It is desirable for modem performers using modern instruments in rendering these parts to understand the resouroes and limitations of the instrument contemporary with the music*

ili TABLE OP CONTENTS fag® nmes . . . ifi

LIST OF ILLtfSTKATIOSS v LIST OF PLATES Chapter I. AHTIQUITY AW THE MIDDLE AOSS ~-o. li^OO) . . 1 II. THE RKUAISSAHCK (®. li*00-l600) 28 III* THJS BAROQUE ERA (l600-XT50) |^. IV. MODERN PERFORMANCE OF MSOQl® TRUMPET PARTS . , 138 Appendix I. HOJflJNCLATtJRg OP THB TRUMPKT AS) MOOTHPISCB . . Xl|3 II. TABLR OP THE WORKS OF KAHDKL T7SING THUMP® . . III. TABLE OF TIES 80BKS OP BACH USING 7RUSEPKT . . . ISO IV. DIGEST OF 140150 PSE IMPAHARE A SONARS CI TBGSBA. M GIHOLAHO FA!»TINI 159 BIBLIOGRAPHY 215

It LIST OP ILLUSTRAflOHS

Figure Page 1* Harmonic S®ries of Lip-Vibrated Aerophones ... 3 2» Shophar Galls Used la the Jewish Synagogue » • . 12 3# Harmonic Series of the Trumpet in C 29 WP##»W frea Pufav'a Gloria Ad liete . . . 37 5« Exeerpt fmm Motet, Stlrps Mocsnlgo ...... Ij2 6# The Range of the Truapet i|4 7* Processional far Six Trurapets , 52 0» Harmonic Series for Variously Pitohed Truxapets . 57 9» Method of Kotating for the Transposing Trumpet . £C 10. Division of Traaqpet Parts 55 11. Overture to Monteverdi's Orfeo . 60 12. First Measure of Fanfare . . . » . 63 13* Truanpet Parts in the Opening Measures of Benevoli * s Fsstaaesae und ffyranus 66 34. Exeerpt from the Gloria 67 15. Exoerpt frea |ja Deri...... • 69 l6* Opening Measures of a Sonatina fro» 11 Poao g..«0ro 70 17* Three Exeerpt» from Pallavacino*s ^ ^

18. Exeerpt froni Oadalus et Horalona ...... 82 19* Truapet Flourish from Aleeate ...... 82 Pi glare Fag# 20* Tim Satire Trorapet fart from Hlppolyte SM Ariel* . 83 21. Trumpet Parts for the Ie%en*»«t pout lee Qaerrlera e| Xm Amazon®® . . 85 22* Opening Meaeuree of Trunpet and Mag® Continuo Part to Aot Z. Seen® IV. ' CaaWr et*mii*x 86 23. Twuspet Parte for tba Opening Ifeaearea of The Yorkahlre Peaet S00& 88 2lf. Bxeerpt from line Arthur *..•.*•••••« 88 25. Excerpt from Jgi£ 89 26. Exenrpt front The Pttfe® of Qloaoeater1* Birthday Ode 90 27. Trumpet Overture, frosa The Indian. Queen ..... 91 28. Salute to Claudio, froa &iylpglte, ...... 93 29. Opening Meaeurea of the Truaspet Parte for Day by Day We Hagnlfy Thee . 30. The Meeea 41 Voce as Applied to the tjwspet ... 9^ 31* An Bxeerpt fro» ifttborah . . 95 32. An Bxeerpt from Israel In Egypt ...... 96 33* Rxeerpt of Truapet Part for the Halleluiah Usaa 97 3^« First Meaeuree of the fnaspet Part for The 35* LeaeeTrtagpet Nott eShal Writtel Sounn fod r Truopet ...... 98 36. Tmuapet and Horn Parte at the Beginning of the Seeond Aet of Joahua ..•••«•«••• 99 37» Florid Trumpet Part froa the Flret Act of The TyjywBjhNoar tlxm and Truth . . . 100

vl Figure Fug® 38* Fanfare Figures Employed by Schfits • •••••• 102 39. Xxaaples of Schuts* Method of Using C Trunpete in Moveaents in P * . . 1<% 4,0# Closing insures of the Truapet Parte in Sohelle1a Cantata .«•«• 106 lp>. Excerpt from Voia Hlaaael Kara der Bngal Sohsflf . • 106 1)2, Excerpt of Pour-Part Canonic '«7riting ...... 108 t|3* Excerpt froa Coneentas Musloo-Instruisontalla * • 109 Wl* Excerpt of Trunpet and Cembalo Parts frosa ?oleraann*0 letttert in F . . . » lilt 45 • Excerpt Trot* Cantata Ho. IS • . . • « 118

¥>* Saia J* iigggi, igt, 119 lj.7• Chart Showing Positions of the Zttgtroapete . . • 123 kS. Kxcerpt froa®ffroaba P a Tlrarsi Part in Cantata Ko. £.&>"* ...... 124 ^9. Sl^Si£,da T£rftrsi Parts in the Chorale Finale of Cantata go. k3 . . . . 125 50. Trmsgmt Part for the Chorale Finale of Cantata No. 128 51* First Measures of the Trtuqpet Part for Brandenburg Concerto Io« 2 .... 129 52* Exftinpl© of High, Rapid Hotes to fie Played Softly 130 S3* Example Showinc Transposition of the P Truuspet • 131 $k* Kxcerpt from the Foui* Trusgjot Farts for Cantata £&. . 133 55* Trmupet Farts from the Introduction to the Gloria of the S-Mlnor Mags ...... 135 56. Sxoaple Showing Bach*® Use of the Trusspet in a tlinor Key 13& vil LIST OF PLATES

Plat® PitS® I. Triuwot ? XI. Raraftn Trumpets 15 III. Oliphant 25 IV. Trumpet mad mtn . • . $$ V. Zugtrowpet© 122

•ill CHAPTER I

ANTIQUITY AND THE MIDDLE AGES (~~C. 3400)

Definition® of the trumpet exhibit certain diversities that oust be resolved to some point of agreement, e "common denominator" as it were, before the history of the instrument can be studied. Examination of the following definitions from various sources reveals that each describes the tube of the trumpet as being cylindrical for the greater part of its length, and flaring into & boll at the end* Apel defines the trumpet as: Trumpet (P. trompettet a, Trompete: It. tromba)• !• The modern orchestral trumpet is a brass instrument with a narrow tube which is cylindrical for about three"quarters of its length, then widening out into a moderate sited belli and with a cup-shaped mouthpiece Catty concurs with Apel* s definition, but adds a specification of external shapes Trumpet (natural trumpet, Pr. trompettei Qer. Trompete. Trumaet. Tarantarai Ital. trealMu" tr« doppja. clarino). An instrument usually of brass consisting of a tube mainly cylindrical in bore doubled back on Itself /Ttalios ain©7 ***& played witk a mouthpi^e of tlie hemispherical variety,2 1 Willi Apel, "Trumpet," Harvard Dictionary of Music. ^Nicolas C. Gatty, "Trumpet," Orovg's Dictionary of Music and Musicians* edited by H» C, Colles, Vol« V, 3r3T ed« Sessaraboff adds a specification of range insisting that true trumpets are capable of playing in the fourth octave of the harmonic series: Trumpets—cylindro-conoidal bore Instrument® with two-third® of the tube length cylindrical9 one-third oonoidal, with a bell of medium slsef. four-octave instrumental cup-shaped mouthpiece either with a shallow hemispherical or medium depth cup and long baokbore*3 The real or classical trumpets form an incomplete family which has only the alto and tenor voioe* There are no real four-octave trumpets in the soprano or the sopranino tonal positions nor a real bass trumpet in the lower position* The instruments pitched above the alto and below the tenor trumpets change their generic acoustioal character- istics to that of the trombone family, JL* e*, become . three-ootave instruments and change their Tone oolor*^ Bessaraboff*s reference to "three-octave instruments* and "four-octave Instruments" is clarified in his classification of lip-vibrated aerophones* There are certain well established facts which may be taken as a guide for the generic classification of lip-vibrated aerophones. There are clearly recog- nizable groups of lip-vibrated aerophones: 1* Two- octave instruments* 2, Three-octave instruments* 3* Pour-octave instruments* The first group, two- oetave instruments, is so-called because their partial tones range from the pedal tone to the fourth partial tone inclusive* Some primitive instruments made of animal horns, tusks or tree bark and having short, large bores produce only the pedal tonef some produce the pedal and the second partial tone, etc*, not exceeding the fourth partial tonef anything above that produced by sane exceptional player* should be regarded as a primitive Mclarenblaaen*M-*

^See Plate 3, Appendix I* Nicholas Bessaraboff, Ancient European luslc&l Instruments» p* 155. ^See p. 28. ^festtp..g O O

Two-octave instruments 5- g., animal horns/

Three-ootave instruments £@m g, , modern truopetjg7

Pour-octave instruiaents /©« g., trumpet of the baroque/ Pig# !•—Hanaonio series of lip-vibrated aerophone® 6

The ton® color of such an instrument is either dull or rough and brutal, owing to the saall number of overtones# Sinoe the pedal tone is always producible on instruments of this group there are no sub-groups. The second group, the three-octave instruments, has a range of partial tones from the pelSTtmSri© the eighth partial tone inclusive* Some exceptional players can produce partial tones above the eighth by means of the "clarenblasen" technique, but practical experience shows that it is wiser to stay within this limit* The slide trombones belong to this group, as mil m the modern valve instruments Invented in the nineteenth century* bugles (tubas, fltigelhoras, sax- horns of all si&es), comets, valve trombones, modern high tnuapets (in B-flat, C, B, E-flat, and F), saxo- trombas, and saxtubas* The tone color of those instruments is more suitable for military bandsj some instruments like the euphonium {the baritone bugle) have a fine tone not devoid of a certain degree of nobility. Nevertheless, they are inferior to the next group#which may be regarded as the aristocracy of the brass-wind Instruments•

'Bessaraboff, ibid., adapted from p. 139. The third group, four-ootave instmaenta. reaches normally AS high as the sixteenth partial tone. Exceptionally gifted players may exoaed this limit by the "clarenblasen" technique* Horn* and real trumpets belong to this group. The tone oolor is rich and noble, abounding in overtones* It la interesting to note that both natural trumpets and horns were developed by our ancestors because they needed instruments with a greater number of partial tones than those supplied by the short hunting horn and bugle. This could only be done by lengthening the tubing. Horns have retained their place in the modern orchestra because they cannot be replaced. The old time trumpet, a magnificent, jaanly, noble instrument gave way to an upstart, the high B~flat (or C) trumpet* which, while superior in agility and easier to play, is inferior in tone oolor to its predecessor.' According to Bessaraboff*8 definition and classification, there are no real trumpets that Is, those capable of playing in the fourth octave in general orchestral use today, Accepting the common denominator of these definitions and classifications, 1. jg>, a tube cylindrical in bore, flaring into a bell at the end, as a criterion, the search through history for the origin of the trumpet can begin. The conception and germination of the trumpet as we know it in modern times are buried deep in the womb of the religious and military history of ancient cultures. All of the lip-vibrated instruments can claim the same maternity! it is at birth that they assume their individual character- istics, accept their various responsibilities, and go their respective ways. The trumpet was bom when it assumed its characteristic cylindrical bore, flaring into a bell.

^Bessaraboff, Ibid., pp. 139-14°. The earliest lip-vibrated instruments were undoubtedly manufactured from the hoima of animals and large seat-shells. Anything from ox-horns to the tusks of mammoths seems to have been utilised* In cases where the small end of the horn was too thick to effect an opening, the aperture was made through the side of the horn. As the art of metal- crafting progressed, these instruments were deoorated and reinforced with metal, and often separate mouthpieces were made* The next step was to make the entire instrument of metal, and it is of interest that the metal instruments closely resembled their natural prototypes in sise and design* This would seem to indicate that the first metal trumpet© were curved, and that the straight shape { see Plate X) was a later innovation. Coiled trumpets appear to have developed as a matter of convenience in carrying rather than purely for design* Sachs states that although straight trumpets, with soldiers playing them, are depicted as late as the Assyrian epoch {1000 B*0*) there are no existing specimens of either curved or straight aetal trumpets from A this period. However, Engel displays a photograph of an Egyptian trumpet (c* 1375-1350 B» C,) excavated from the tomb of Tut-Ankh-Amen in 1926 (see Plate I)*^ o Chart Sachs, The History of Musical Instruments * p* 73* ^Carl Engel, the Music of the Most Ancient Nations. facing p. 1. A Carchemish relief In the British Museum, from about

1250 B.C.# depicts a rather short lip-vibrated instrument played together with a large frame drum# the n-lsO, or h&lm* used in the temples of Sumerla* This was likely the instrument referred to in insoriptions by the Sunerl&n priest-king, Gudea, as the si~la. from "si" meaning horn, and "imw meaning wind* An inventory of presents from King Tushratta to King Amenophis IV of Egypt, about II4.OO B.C., lists forty horns, all covered with gold, and some studded with precious jewels, 10 Seventeen of them are expressly called ox-horns• The Egyptians credit their god Osiris with the invention of the truiapet, and It ms used as a sacred inetruiuent in their worship of hi»u The Egyptian instruiaent (e# Hp-5 B*0,} had a straight tube with a conical bore, a wide bell* and a distinct mouthpiece. It was made of yellow asetal, and was about two feet long* This would place the fundamental at about c*, and render improbable the availability of more than three partials. The Egyptian trumpet was referred to in hieroglyphic inscriptions

10Saohs, oj>« olt>, p. 73* ^Ibid. Plate I.—Egyptian truapet •cornet & bouquin" /cornet with aouthplee«7 *hich the passage of the goddess of Syria, at the time the priests displayed her likeness in the country. De La Fag®, in his learned History of Music * supposes that this truagpet was the instrument that the Greeks knew under the nmm of *kBoue,tti

12 In an interesting display of etymological deduction, Sachs asserts that "snb" as pronounced by the Egyptians, and "knou^" as pronounced by the Greeks, resulted in the saiae sound. Sachs, ibid. ***"0n dolt presurasr que les Egyptians oonnurent la troapett® dans les teacps tres recul^s, puisque certain v auteurs grecs ont attribue 1'invention de cet instrument a Osiris* Apulee parle d'une ôrte de comet a bouquin qui annonâit le passsge de la deese de Syrle, lorsque les prStres prostenaient son effigle dans les caarpagnes. M* de la Page, dans sa savante Histolre de la amslque. s suppose que cetta troapette etait l'lnstrcuaent que les grecs conzairent sous le a©» de Hoaoue, • £oat on se servait pour appeler le peuple aux oerei&onles religieuses, et qui faisait horreur, d*apres Plutarque, aux Busirites, aux Lycopolites, et aux Abyssins, a cause de ses sons eclatanta et semblables au bralre de l*lne. Ces peuple avaient cetânimal en aversion, pares qu'ils le coasideraient coanme le representant de Typhon, le glnie du aal. Ches les Egyptiens, la tranpette seg»vait Ik r£gler la aarche de«i troupes, a commander la charge, a diriger les evolutions, et a raasembler le peuple." Andre George, Muaique-Danse» p. 116, The Lord said to Moses, "Make two silver trumpets) of hammered work you shall make them) *4 and you shall u«e thera for summoning the congregation, and for breaking camp* And when both are blown, all the congregation shall gather themselves to you at the entrance of the tent of meeting* But if they blow only one, then the leaders, the heads of the trlbfcs of Israel, shall gather themselves unto you. When you blow an alarm, the camps that are on the east side shall set out* And when you blow an alarm the second time, the camps that are on the south side shall set out. An alarm is to be blown whenever they are to set out. But when the assembly is to be gathered together. you shall blow, but you shall not sound an alarm.*5 And the sons of Aaron, the priests, shall blow the trumpets. The trumpets shall be to you for a perpetual statute throughout your generations. And when you go to war in your land against the adversary who oppresses you, then you shall sound an alarm with the trumpets, that you may bo remembered before the Lord your God, and you shall be saved frosa your enemies. On the day of your gladness also, and at your appointed feasts, and at the beginnings of your months, you shall blow the trumpets over your burnt offerings and over the sacrifices of your pease offerings) they shall serve you for remembrance before your Oodt 1 am the Lord your God*"*6 This instrument was called in Hebrew wfn$)$!]•* It is rendered phonetically by various writers as Asosra, Hasosra* Khatsotsrah. Chatgotsera. Hatsotsroths. Ragosra. The Jewish

^The King James version reads "of a whole piece shalt thou make them." Winterbotham says of this phrase? "Of a whole piece. Bather, *of beaten work.1 Probably they were made of a single plate of silver beaten out into the required shape, which was very simple." R. Winterbotham, Numbers, The Pulpit Commentary, edited by H.D.St, Spence and Joseph S* Sell, vol*' V, p» cB# Winterbotham states that the Hebrew/7X>7fl, "when ye blow an alarm" signifies a continuous peal easily distinguished from the blowing in short, sharp tones (Hebrew yj> Jjj). era 10:1-10. Revised Standard Version. 10 trungpet w&s much Ills© the Egyptian trumpet in appearance, though apparently somewhat ahorter in length, as described by Flavlua Josephus {A*D, 37-95) # tha Jewish historian and military commanderi Moreover, Moses waa tha inventor of thair form of trumpet, which waa made of silver* Ita description la thiai in length it waa little leas than a cubit /about 18 inj/. It waa oompoaed of a narrow tube, somewhat thicker than a flute, but with so mi oh breadth as waa aufflclent for admission of the breath of a man's mouth} it ended in the form of a bell like common trumpets. Ita sound was called in the Hebrew tongue "Asoara,"!? A trumpet like that described by Joaephue was depicted on a triumphal arch erected in Rome in 70 A,£>,, in the honor of Emperor Titus, portraying his triumphal entry into Home with all of his loot from the conquest of Jerusalem. This Instrument is also similar to tha many trumpets depicted in id Egyptian reliefs and paintings*• Oradenwltz refers to the haaogrfe as the "loud trumpet," and also mentions two other instruments, the keren» and the shofar* The latter waa made from a ram'a horn, and the aame instrument, with little change, is still used in the syna- 19 gogu®, 7 Stainer mentions that the keren and shophar are sometimes used synonymously, but that in the account of the •^Plaviua Josephus, The Works of Josephus, p. 117* ^Sachs, 0£» clt., p. 73• •^peter Oradenwitz, The Music of Israel» p« 29» XI capture of Jericho (Joshua VI), there Is affixed to teeren the word Jobel. In the English version this is translated as rams'horn, tout Stainer maintains that Jobel is probably the source of our word .jubilee. and that the expression indicated the instrument was used on solemn occasions.20 In an appendix to Stainer*s work, Galpln describes the use of these instruments in the synagoguet As Dr. Stainer has made but passing mention of the use of the shophar by the Jews of the present day, the following accountis necessary, especially as Rabbinical tradition states that the calls, as still played in the synagogue, are identical with the trumpet flourishes formerly used in the temple and ordained by the Mosaic law {Numbers Xil-10). The shophar is blown in the synagogue on certain special occasions falling between the middle of August and the middle of Ootober, wis*, during the month Elul, at the New Year (Feast of Trumpets), at the conclusion of the Bay of Atonement, and on the seventh day of the Feast of Tabernacles* In the Temple, according to Josephus (Wars, IV., lx. 12), calls were sounded on the Sabbath at its commencement on Friday evening and at its close* We find in the Bible various terms referring to the calls, and said to be rightly represented by those now in use. Owing to the short length of the tube but few of the harmonic notes oan be produced, and even these, because of the faulty bore of the natural horn, are very untrue. Generally only the octave above the fundamental note and the twelfth, or the twelfth and the super-octave are employedi in fact, the calls do not depend on correct musical intervals, but on definite rhythmic strains. "Any sound is satisfactory," say the Rabbia. F&r the first call (Teklah) the player is said to "smite" or produce a clear, dlatlnct note) if the note or note* are prolonged (amahak) it is called a great Teklah (Teklah fledoulah).

20John Stainer, The Music of the Bible, p. 153. 12

For the second call (Teruah) the performer is to produce a loud alarm# In the Tabernacle and in the Temple these calls were blown on the long straight trumpet fj&atitotarah) > and the oalls were ooaMrnd to form flourishes, which ranged In nuxaber from seven to sixteen according to the importance of the dayj each Teruah was to be preceded and followed by a Tokiah. Ifi'Sr the fall of Jerusalem these calls and flourishes were played in the synagogues on the shophar, and, according to the Rev* F» L* Cohen# sooe doubt arose as to the proper nethod of performing the Teruah. 3mm played it as a trembling, "crying* note (Tjababath), eth#i*s as thra# *brok#n nafcss (Bhebarlm) • About the beginning, therefore, of the third oentury of our era it was ordered that the flourishes should be played with each of the two methods of rendering the Teruah* Hence the calls, as I copied thexa down fr©» those sounded by the shophar••player in the London Western Synagogue, are as followst21

fgKIM $4 - ur t ft 11

ffl=f

y 4'" *

Fig. 2«--ghophar calls used in the Jewish Synagogue

21P . W Galpin, "The Shophar in the Synagogue," Stainer, lbldt, AppendiIIx* V,. pt>.* 22^22k.. 13

Sachs attributes only on# type of trumpet to the Greeks, the straight trumpet: The Greeks had only a straight trumpet that they called salpinx, while the Roman name was tuba* The only Greek trumpet preserved was recently aoquired by the filuseum of Pine Art in Boston* Its tube is made in thirteen sections of Ivory neatly fitting into one another, and strengthened at the Joints by bron*e rings| a long funnel-shaped bell is raade of bronzeJ tho "mouthpiece is only slightly enlarged without being cup-shaped* As the trumpet is one and fifty-seven centimeters long it xnust be an alto with a note between f and g as the lowest available tone* The curator, Mr* L. D« Caskey, assigns it to the second half of the fifth oentury, D.G*22 However, George states that the Greeks had both straight and curved trumpets* What is certain is that the Greeks had the straight trumpet and the curved trumpet; the latter served to call the people to sacrifices* They had also trumpets oalled Celtic * because they had Imitated those of the Celts or Gauls, oalled in Greek earnen and carnlx* The carnlx was curved, and its bell assumed the form of an'LlnIaal*23 The Romans had three chief forms of lip-vibrated instruments) the tuba, the lituus» and the oomu* The cornu is also known as the buccina* Geirlnger suggests that in their use as signalling instruments, the size employed was

^Saehs, oj>* oit,, p. llf£* ^"Ce qu'il y a d'a peu pres certain, c'est que les Grecs avaient dee troupettes droites et des trompettes recourbeesj ces derai&res servaient pour convoquer le peuple aux sacrifices* lis avaient aussi les /trcHapettes dites celtlques, parce qu'il les avaient lmitees de celles des Celtes ou Gaulolst on lea nommait en grec carnon et carnlx* La carnlx Italt recourse, et son pavilion affectait la fowe d*un animal*" George» op* oit., p* llif* lif determined by the size of the body of troops to to# sig- nalled.^* Sachs describes the smallest of these instruments, the tuba, as being very similar to the Greek salpinx* but simpler In construction. The Soman tuba was made entirely of bronze with an evenly conical bore, a slightly expanding bell, and a mouthpiece of either horn or bronze. The average length was about four feet.^ 26 It is possible that the lituus was the ancient fore- runner of the true trumpet, sinoe Oalpln describes this instrument as having a cylindrical bore: It was rather in the manner of construction than in its actual shape that the instrument, whether short or long, was new to Western Europej for one type of the Roman Lituus used by the oavalry was a true trumpet, its cylindrical tube being made by placing a long strip of thin bronze on a metal rod, over which it was turned and its edges neatly flanged and riveted together, after being ooated with wax to render the seam quite air-tight. This is dearly shown in an ancient specimen discovered in Etrurla.27 This excellent description of the construction of the lituus combined with Sachs* description of its external

^•Karl Oeiringer, Maalcal Instruments• p» 44* ^Sachs, op. clt.. p. 145• 26®hl» Instrument derived its name from the staff of the "augers" (members of a religious college who interpreted the signs of the gods in reference to proposed undertakings) which it resembled in shape. 27prancis W# Oalpln, Old English Instruments of Music, p. 301. 15

Bucoina, or Cornu Lituus Plat® II.—Roman trumpets 16 appearance, gives a fairly complete picture of the inatru- aacnt* Besides the straight tmiuipot the Homarx army had a hooked truapet tluit they called Utwta. a long, slender, branee tube curving upward at the end to ftora a bell. Its prototype was obviously a cane or tube of wood stuck Into a cow horn *hioh then forsaed the bell. In bronse civilisations the ootabined foraw of two natural objects mas replaced by a hoaaogeneous bronze tr-uiapet in one pleoe, which at flrat showed Its composite origin bj.it in lta later foca had lost all vftitlgtti of the original components. In a later statement, Saeha contradicts Galpin*a description of the cylindrical shape of the bore of the lltuua and in the suae breath contradicts on the saaa page, his own statement above that the instrument was "long*! *Preserved specimens are conical and ahort (seventy-eight and seventy- nine and five-tenths centimeters long) Bessaraboff , with his enviable thoroughness, describes the instrument in the collection which he catalogues! ituus-—Reproduction of a Roman cavalry truiq>et. §ylindro-conoldal bore. Copper, with brass mouthpiece, Tim approximate tonality is G. "This conoidal part of the tube is curvod up, forming a rialess bell, length (with mouthpiece) 163

28Sachs, ££» cj&., p* lti-6. 29Ibld« 30 Catalogue descriptif

1827 Cervetere, Italy, formerly Caere of the Etrua- cana.31 The oornu (buooina, toba curva) —properly, owing to its bore, a for#runner of the horn rather than the trumpet—waa the Roman solution to the problea of what to do with an instrument too long to carry in ita atraight form (aee Plate II). The clearest deacription of this inatruxoent, and of the method of carrying it and playing it, ia provided by Saeha t It had a narrow, evenly conical bore in the ahape of the round letter 0 with a alender bell; a wooden oroaa* bar, forming the diameter, rested upon the player'a left ahoulder and waa graaped by hia left hand, while the right one preaaed the mouthpiece against the llpaf the tube curved over the level of hie he aid, and the bell turned to face forward• Speciaena /c» A.D. 7^7 in a good state of pr@s#rratlon were found at Pompeii, and have been kept in the national Itaaeum at Naplea. Their tubea measure eleven feet long, and oloaely reseiable thoae of the French Horn in 0.32- Beaaaraboff describee the iaatrument (a reproduction) in the collection which he catalogued aa being somewhat ahorter, 323.5 centimeters (10.6 feet) and having the tonality of a horn in A flat,-*-* While it ia undeniably true that the exalted poaition enjoyed by the Roman military aachine in the vaat area under ita control did ouch to eatabliah the foregoing inatrumenta aa toola of war, their aervioe in other faoeta of the Roman

^Beaaaraboff, gjs# cit., p. 192, o£. cit,, p. Ikl* ^Beaaaraboff, o£. cit., p. Ilk* 10 social mmm i® not to bo ignored, 3acha mentions that in addition to its its© in Military bands, the coffm was employed At funerals and other solom oeraaonies* m well aa at bao- j||t x chanala and circus playa.-^ Andre George describes isore coopletely the usee of the trumpets axaong the Remans t The bucclna and the teba served also to announce the ooxaent when the gladlatora abandoned the weapons of wood which preceded the fitting with the sw@rd» In the Kenan anay, the troapete mm eaployed in the manner of drau and bugle* among us* They served to indieate to the soldiers the various duties that they had to perfera, aa well aa to excite them in battles. Captured cities were rased to the sound of the trunpet* They served equally in the "Floral Games," and there was a festival called Tublluatrma during which they /the «m purlfSSTfEiy a^xSymt the truapets alao in the funerals of laportant personal for the obsequies of obscure cltiz«ma4r,they were con- tent with the flutes, 21« *J George also relates a legend concerning an incident which "changed the face of the world" 1

^v3aohs, og. cit,. p# litf* bueelim et la tuba servalent aussl a annoncer le stooent ou lea gladlateurs abandonnalent lea amies de bols avec lesquelles 11a prfcludaient pour en venir aux main avec le glaive. Pans les armees romalnes* la tronpette etalt eaq?loy£e come le sont chest nous lea taabours et les clalrona. Ill* servait^ a lndlquer max soldats les different devoirs qu'ils avaieat a renpllr, alnsi qu* a leur lnsplrer de l'ardeur dans lea combats* On rasalt les vllles prises au eon de la troapotte. Slles servaient egaleaent dans les Jeux floraux; et 11 y avalt une fl-te appelee Tublluatrun pendant laquelle on lea purlfait* On eaployait aussl la troapotte dans les Jtaoirallles des grand personnagesf pour les obseques des citoyens obsours, on se oontentalt dea flutes, tlbloe.* Oeorge, og» clt«, p* llJf* 19

Caesar, says Suetonius,^ had arrived with Ms legions on the banks of the Rubicon, the border of his province* he hesitated some time before he decided to cross* in effect, to overstep the river, boundary of the province which he ruled, was to violate the laws, and start a civil war* While he deliberated, a miracle decided him to take this bold action, which resulted In changing the face of the world, and gave place to that proverbial sayingt "to cross the Rubicon." A person of great handsomeness and of an extraordinary bearing appeared suddenly, seated himself in the vicinity and played the chalumeau /& reed7f the shepherds as well as the soldiers abandoned their posts, and hastened to listen to the marvelous musicians among the soldiers there were trumpeters. It happened that the trumpet of one of the curious ones was miraculously wrested from him and leapt into the riverj immediately the shrill call of a trumpet was heard to resound on the other shore. Then Caesar cried, "l*t it be as the divine miracles and as the wickedness of our enemies will it. The die is castI"37 The peoples of Horthem Europe were not faced with the problem of how to curve a long tube so that it might more

^Suetonius Tranqulllus in his wDe Vita Cae8erum,M c. 121, A.D:? 37«cesar, dit Suetone, ^tait arrive avec ses legions sur les bords du Rubicon, limits de sa province} 11 Malta quelque teraps avant de se decider k le passer; en effet, franchir oe fleuve, limite de la province dans laquelle 11 commandait, o»^talt violer les lola, c'6tait coamencer la guerre civile. Pendant qu'il d&llb*rait, un prodige le decida i cette action hardie, dont les resultats changerent la face du monde, et qui a dorm.4 lieu a la locution proverbial** 'passer 1® Rubicon.• Un personnage d'une grande beaute et d'une taille extraordinaire parut tout k coup, assis dans le voisinage et jouant du chalumeau; de® bergers et alia® des soldats, aban- donment leurs postes, accoururent pour entendre le merveill- eux musicienj paml oes soldats ae trouvalent aussi des trorapettes. II arrlva que la trompette d'un des ces curieux lul fut arrachee miraculeuaement et sauta dans le fleuve| aussltdt on entendit retentir s^r 1»autre rive un appel 6elatant de troapette. Alors Cesar a'Serial 'Qn'll soit fait selon ce que veulent les prodiges dlvins et la mechanoete de nos ennimisl Le sort en est Jet£l (Alea jacta est J )»fW Qeorge, op. cit., p. 115• 20 easily be oarriedj It had been solved for thexa toy the natural prototype of thoir long lip-vibrated Instruments, the tusks of the xaammoth. The shape of the lur» as specimens uncovered (c. 1000 B.C. in Denmark, Scandinavia, and Northern Germany demonstrate, corresponds to that of the peculiar S shaped mammoth tusk* The second curve of the S is turned at right angles to the first* A further indication of the use of tne tusk as a model is the fact that lurer are often found in pairs, of equal size, but turned in opposite directions* as a pair of tusks would be. Oeiringer observes that the two lurer of every pair are tuned with marvelous accu- racy, and he barely resists the temptation to accept this as an indication of early part musicf One would be tempted to oonelude that we have here the first evidence of the existence of part music, did not everything we know about the music of primitive peoples contradict this supposition. It is far more likely, as Belm-*' contends, that the lurs were blown in pairs in unison, to strengthen the tone.4-0 Sachs further disposes of such a conclusion in his discussion of the gemination of lip-vibrated instrumentst Curved, metal trumpets of the Nordic bronse ages, the so-called lurer. were almost always found In pairsj twin metal trumpets in ancient Afghanistan were played

^Bessaraboff, jgj>. cit., p. 17k* •^Apparently F. Behn, in "Musik," Reallexllcon der Vorgeschiohte* ed, by Max Ebert. . . .^Oeiringer, OP. cit., p. 38. Oeiringer shows an illustration of this instrument being played on Plate I of his work. 21

aicailtanoouflly, as they still arc In modern India and Tibetj and the saa© is true with the wooden trumpets of Lithuania, Rumania, and Chile. I&taicological dil- letanti dream that the two Nordic lurer played two parts. This is nonsense; twin trumpets are deeply rooted in old ideas of symmetry and pair formation* The two trumpets oust have been played simultaneously or alternately, and, in this latter case, either on same or a different note.. Both these customs are preserved in modern India.4*

All specimens of lurer uncovered to date (some three dosen) have entirely oonioal bores. The instrument had no belli rather, a flat disk, often finely ornamented, was attached to the large end of the tube. The mouthpiece was rather like that of the modern trombone. The instruments varied in lengthj Sachs indicates that their second partial (probably the most easily obtainable note) was between c and g, placing them in the tenor range.^

Sachs and Geiringer disagree concerning the quality of tone and the number of tones used on the lur. Geiringer maintainst

On these lurs, the noble and solemn tones of which remind the listener of the Prenoh horn and the tenor trombone, a practiced performer can produoe up to the twelfth note of the harmonic series, so that, in addition to the usual triad, a series of consecutive tones becomes possible in the upper register.m3 While Sachs contends:

The undeniable importance of the lurer has been fool- ishly exaggerated by modern Germanic enthusiasts. '*e have already shown that the use of twin trumpets was

^Sachs, cit.. p. 113. ^Ibld. . p. lij.7. ^Geiringer, og. cit., p. 38. 22

frequent, and that they were not played in parts* Here we may add that the possibility of producing twelve notes on this instrument, as asserted by aodern trombonists, with modern mouthpieces, is a scientific falsification*' Modern violinists vould b© able to play medieval fiddle# in a» many positions as desired, and yet w© know that in their time they were played in the first position only. It is a grave error to confuse the potentiality of an instrument with the musio it actually performed* On the other hand, it is edifying to cosipare the supposed nobility of Nordic trumpet playing with the few violent notes that are roughly blown on a contem- poraneous descendent of the S-shaped trumpet family, the raarn grlnga or Icombu of modem India, or with the sound of the Tibetan ceremonial trumpet® which is called "hippopotamus-like* by one witness, and compared with the roar of factory sirens in an industrial town by another. Remembering that a Greek author compared the sound of Egyptian trumpets with the bray of an ass, and that Roman writers spoke of the "horrible,*"raque," and "shrieking" tone of their trumpets, it must be ad- mitted that not one evidence of ancient and oriental trumpet sounds points to anything related to the noble tones of modern trumpets.^-

Bessaraboff describes a lur in the collection which he catalogues: Lur (c. 1000 B.C., Reproduction)-—Bronze, conoidal bore, Made in two principal parts, each part consisting of three Joints fastened by ferrules. Cup-shaped mouthpiece. The bell end is embellished by a disc with eight hemispherical indentations; five pendants ©r rings near the mouthpiece. Bore, min., 9»,j max., % mm. Length of air column (with mouthpiece), 21^,5 om. The original of this instrument was found in an excavation of rem- nants of the Bronse Age in peat beds in Denmark and is now preserved in the Royal Museum of Antiquities of the North in Copenhagen.45

The karn.vkes (singular, karnyx) were the products of Celtic civilisations of second oentury B.C., and were probably the Gallic predecessors of the Roman lltuus. They

P. op. cit., p. l4'5. ^Bessaraboff, oj>. clt., 23 followed the natural prototype of wood and animal horn, and foreshadowed the all-metal lltuus without its severity of design. The karnyx was essentially a straight tube^ with a hook-shaped bell. The bell ws often oarved to reseable the open jaws of animals, or dragons. Representations of the karmrx were carved on the triumphal arch for Emperor Hadrian CllJ A.D.), and on Roman, Gallic, and Britannic coins.^ As has been said earlier, the birth of the trumpet as an Individual occurred when an instrument was designed which was cylindrical in bore for the greater part of its length, and then flared into a bell* With the exceptions of the lltu&l described by Galpin (see p. lif) and Sessaraboff {see p. l6), none of the Instruments of antiquity heretofore described is cylindrical. This contradicts Apel* s statement that: horns wore originally raade from animals' horns as, e. £«, the shofar, which is made froza a ram's horn, or Babylonian ox-horns which, we are informed, were covered with gold and studded with precious stones* Metal horns. S-shaped and widening /T» e«, conical/ TEW aniaial *0 horn are much rar»r in ancient "cultures n the aormore oyillSrleal trumpets /Itallos' _ TwKether straight or curved, as the oornu. which, in

^The present writer has been unable to determine whether the tube is cylindrical, conical, a combination of the two, or if it varies on individual instruments. k^Sachs, o£* clt.. p. II4.6. 24

spit# of its nam*, oust be classed m a trumpet), y probably owing to the greater difficulty of founding.*** The ollphant (see Plate III), carved from the tusk of an elephant, made its way to Western Europe via Byzantium in the tenth century, probably originating in Africa since Byz- antium had no elephanta.^9 Unlike the African tusk-horns of today, which are cross-blown, with the perforation in the tide, this instrument was end-blown, through the thick tip, so Apel ascribes no musical importance to the oliphant* Its use in battle is described in the eleventh-century French epic poem, Ij© Chanson de Roland, describing events of the period of Charlemagne (late eighth century): Roland raised the oliphant to his lips. He set it well, sounded with full force. High are the mountains, and long the tone of the horn, Thirty long leagues it was heard to continue. Charles ^harlemagng/ *nd all his companies heard it.51 ^ Apel, "Brass Instruments," Harvard QleMwary of Mails, V, a. This contradiction is even more curious in light of the fact that Apml gives aeknowled&aent to Curt Sachs for the reading of articles on ancient instruments, and that much of the foregoing material in this thesis is based upon information drawn from Sachs* book, The History of Musical Instru- ments. ^Sachs, 0£. clt., p. 280. ^°Apel, "Oliphant? Harvard Dictionary of Ifaalc* 5^"Rollant ad mis l'olifan a sa buche, Empient le ben, par grant vertut le sunet. Halt sunt 11 pui e la voiz est mult lung©, Granz .XIX. liwes 1 * oirent 11 respundre. Xarles l'oit e ses cumpaignes tutes." Lg, Chanson de Roland. modern edition by Joseph Bedier, p» 134, line 1753 • dp

rai mO

imm

Flat® III.—Ollphant 26

Other signalling Instruments mentioned la Xg. Chanson de Roland are the mrmnl® (variously spoiled graale. gralsle. jgreisle), which Bedler translates as olalron (English, bugle) , buislna, translated buoclne (English, buvslne), and cor, cornant. corn, cornat, oomer. cornent. translated eor (English, horn)• The ollphant was part of the trappings of royalty and nobility, and it was as much a disgrace to lose one In battle as a banner or sword.^ The buslne and the olaro are the earliest instruments from which can be established an unbroken succession of cylindrical-bore instruments to the trumpet of the baroque• They are known by various names* to be sure, but it is rea- sonably evident that these are but different names for the aame instruments. The longer type (buslne. buyslne. buslne. bulslne, buatanne. boclne, tuba, cors sarrazinols. anafll) was about six feet long. The shorter type (claro. clarone. tubeota. trombetta) was about three feet long.^ Oalpin describes the construction of these instrumentss In the Buslne, • . • and the straight trumpet, various lengths of prepared tubing were fitted together, and the joints covered by a ferrule or ornamental band. In this way, tubes of any length could be made, and, if we may safely draw an Inference from the ^eleventh centurj/, the Busines must have been at least six feet long and the straight Clarones about half that length /i»

52"011phant,H Encyclopedia Brltannlea. 530alpin, 0£. clt., p. 201. 5klbld» 2?

Geiringer describes an innovation which he says is to b@ seen on trumpets depicted in paintings of the late middle ages (c. 1350)t The mouthpiece of the trumpet was fixed to a long tube, which could be made to elide in and out of the main tube* The performer held the mouthpiece with his left hand, and the instrument in his right* By drawing out or pushing in the main tube he changed the effective length of^fche instrument, and with it the whole series of notes Sachs discusses what is evidently the same instrument, but ascribes to it a somewhat later date: On a painting by Antonio Vivarini of the three magi (fifteenth century), now in the Berlin Kaiser Friedrich Museum, appears a trumpeter carrying his trumpet and, separately, its mouthpiece. The nthroat" of the mouthpiece, destined to be inserted in the tube, is not the usual length of one inch, but approximately ten inches long. So abnormal a throat may have served to adjust the tone of the instruxaent, but it is no less possible that it served to complete the natural scale of haraonics by being pulled in and out while played. This is more probable as pictures of the fifteenth century often show the trumpet forming a trio with two shawms, so that it/must have been capable of producing a diatonic scale.-3

££ Gelringer, 0£. cit., p. 79* This instrument is different from the trombone in that the body of the instrument was moved in and out on a single tube. * SftehS, OP. clt., p. 3QI4.. For further discussion of this instrument, see p. 121 of this study. CMPT1R II

THE RENAISSANCE (c. lij.00-1600)

It was during this period of some two hundred years that the possibilities of using the trumpet for purposes other than signalling, to wit art music, began to be ex- plored. The wide-spread partials of the first and aeoond octaves (see Pig. 3) served very well for the military instrument, but for the trumpet to participate in the polyphonic stusic of the period, it was necessary for a series of diatonic tones to be somehow made available to the instrument . This necessity gave rise to the technique of Clarino playing.

Clarlno playing CKlarlnblasen» Ql&rlxm blasen) was the highly developed technique of producing the tones lying in the third and fourth octaves of the harmonic series of the instrument (see Pig. 3)• This, of course, was not an accomplishment immediately gained by trumpet players. The process was gradual, evolving through a period of some three hundred and fifty years (c. llfOO-c. 1750)* culminating in the time of Bach and Handel, and thereafter dying a not wholly explained death# It would be well at this point to consider the acoustic properties of the trumpet as it had evolved by the beginning 28 29

©f the fifteenth century. With the exception of a possible Bslide trumpet" (see pp. 2? andlZL)* the instrument was fitted with no device for changing pitch other than the player's lips. By stretching his lips across the mouthpiece and blowing, the player produced the sound by causing the *1 air column in the tube to vibrate. By tightening the lips, and/or increasing the air pressure, the performer caused the air pressure to vibrate in fractions, producing higher tones. As on any lip-vibrated instrument, the playor did not have complete control of the fractions in which the air column vibrated* These were unalterable (l/2, l/4» ®tc»), and limited the instrument to the "harmonic series" of tones. Below is illustrated the harmonic series for a tube of approximately eight feet, which would be the length of a trumpet in C.

9! —=

Pig. 3.—Harmonic series of trumpet in C (8 ft.)

This, of course, Is still the basis of playing all brass instruments, except that modem trumpets have valves for altering the length of the air column. 30

On account of the difficulty In producing them, the fundamental (no# 1}, and nos. 17» 18, 19* 20, and 21 were available only to exceptional players, while nos. 7, 11#

13f and 14 were not in tune with either just or equal temperament , being flat according to both systems. Porsyth describes the player on one of these instruments as being like a iaan. continually hopping up and down a ladder, soae of whose rungs were so shaky as to be a danger to life and limb. At the bottom they were far apart and badly spaced, while at the top they were set so close together that he had great difficulty in getting his feet on them at all.2 It was found that the higher partials are more easily obtainable on a longer tubej^ therefore as trumpeters sought to extend their upper limit to include more of the diatonic and chromatic tones of the third and fourth octave, trumpet makers extended the length of the instrument# Bessaraboff describes a trumpet dated 3J4.6O as having a total length of 106.5 centimeters (3 l/2 ft.)* Buysine—Herald*s Trumpet. Alto in D. /S7 Cyllndro- conoidal bore. Brass* The tube is made in fi*e parts with the Joints reinforced by engraved brass bands. Engraved on the bell rim bands "Maoht Sebastian Halm- lein *K*CDLX." Length of air column, 106»5»^*

^Cecil Porsyth, Orchestration, p. 73• 3s«© the discussion by Bessaraboff on the "Generic Classification of Lip-Vibrated Instruments" reproduced on p. 2 of this work. ^Nicholas Bessaraboff, Ancient European Musical Instru- ments, p. 186. 31

By the beginning of the baroque period, the trumpet most commonly used was exactly twice the length (7 ft*) of this specimen, and was pitched in D an octave lower (see p. !f4)* Aa the trumpet became longer, the straight shape inter- fered with transporting the instrument and with playing it In enserables Indoors, and a more convenient form was sought. According to Galpin, the physical transforation of the trumpet began about 1300, when the core orocus (jl. e., "crooked horn") begins to be mentioned.^ This is sooewhat earlier than the date given by Sachs, who describes a figure on a carved choir seat in the Woroester Cathedral, dating from about lijX>0, as the earliest evidence of a trumpet folded / f a into a narrow S form, Oeirlnger and Apel concur with Sachs' opinion that the early fifteenth century was the ini- tial period of the folded trumpet, but give no examples* The folding of the trumpet into a flat S shape was accomplished by connecting three lengths of straight cylindrical tubing together with two U-shaped pieces of tubing. Whether the S was held in a horizontal or a vertical position is not clear, although the foroer eeena the more likely.

^P. W. Galpln, Old English Instruments of Music, p. 201, illustrations of S-sKaped truupets on ^lates"^^ and" XLIX. ^Curt Sachs, History of Musical Instruments, p. 328. ?Karl Geiringer, Musical Instruments. p» 80. 8Willi Apel, "Brass Instruments," Harvard Music. V, b. 32

The 8-shaped trumpet was unwieldy to carry, wad weak

In construction, beoause It had no bracing betwean the length® of tubing. It was soon superseded by the trumpet coiled much as we know it today. The third length of tubing was laid alongside the first, resulting in a flat loop or circular trumpet. For some time, the first and third tubes were separated by a piece of wood, and canvas bindings and colored cords were wound about the two tubes and the wood to make the entire construction more rigid, Gatty gives the diameter as being from forty one-hundredths to forty-six one-hundredths of an inoh and describes the tube as cylindrical in bore for about three-fourths of its length, then flaring into a wide bell about four or five inches in diameter. The mouthpiece had a somewhat shallow or hemispherical cup, and a rim with an internal diameter "varying from that

n of a three-penny to a sixpenny piece^ ^/l6-ll/l6 int7.

The trumpet makers of the early renaissance began to produce an object that was almost as much a work of art as it was a Musical instrument. Gelrlnger compares the trumpet makers of Nuremburg and other Gercaan cities to the violin makers of Italy as being skilled families of artisans who

Nicolas 0, Oatty, "Trumpet," Grove«a Dictionary of Music and Musicians* edited by H. C." Oo'lTe s. The measure - aents of the coinsare from the latest source available to the writer: Andrew St. Smith, A Visitors Guide to the U. 3. lint {18855• ~ 33 passed down their techniques from generation to generation.10 Trumpets were often mad® of silver, and sometimes even gilded, and occasionally had intricate chasing on the bell* Saohs describes the trumpets of the fifteenth and sixteenth centuries as being atuch like the modern trumpet, but having a narrower bell, thicker znetal, and a heavier Mouthpiece• He credits these qualities with contributing to produce a softer tone, enabling the trumpet to take part in the chamber 11 ausie of the following oenturies. According to Apel, however, the effeot of the material from which an instrument is 12 made on the quality of tone is negligible. The names given to trumpets at this tine were suggestive of their use. In the earlier part of the period, according to Sebastian Vlrdung (15?11), they were variously called 13 Felttrumet» Clareta. and Thurnerhorn. ^ In the later years of the Renaissance they were known as principal and clarin, or Feldtroaapete and Kaiaaaertroaapete*^ *°Geiringer, op. cit., p* 108. Adam Carse, in Musical find Instruments» p» 2jTJ lists the following Musses or""'"i'rS*- peIT*aakirs f1,1 ScSinlfc, Heuschel (l6th century), Schmied, Kagel, Hainlein {descendant of maker of the instrument described on p« 30), Kodisch, Veit, Haas (17th century), Ehe and Leicharaachnelder (10th century)• ^Sachs, o£. cit., p. 320. •^Apel, op» cit», I* ^Sebastian Vlrdung, Muaioa getuacht» Plate C. ^Sachs, 0£, cit., p. 328. 3k

Virdunga Thurnerhorn was an instrument that had apparently kept the straight form, was used by tower watchmen, and gradually disappeared. The only essential physical dis- tinctions between the other two {clareta and PeXttffaaieti clarin, and principal} Raxgagrfcroiagett and Feldtroapet), were that the former (clareta, ol.a?in» Kammertroom®te) possessed a smaller bore, and a shallower mouthpiece* The chief difference was in the performers who played the instruments. The Feldtrompeter {"field-trumpeterH) was not expected to read tousle; his function waa to play sustained tones and flourishes in the middle and lower registers like the modem military bugler* The ICaissa^rtroatpeter {"chamber-trumpeter") on the other hand, was a skilled musician, with a highly developed technique of playing the conjunct notes in the upper limits (fourth octave) of his instrument. This led to the for.'uation of a "trumpeters * guild," an influential and Jealously exclusive union that remained in existence IS until the first of the nineteenth century* Schiinemann desorlbes the authorization of this organization: In the year 1623 Kaiser Ferdinand II confirmed and established their privileges, and they held fast to these protected rights from the Electors of Saxony until modern times. However, earlier they had already formed strong "fellowshipswhich adhered strictly to tradition and law and did not permit their members to play with "wandering musicians" or in forbidden places* This trumpeter-guild could protect its ex- clusiveness only if it saw to it that its art did not

15 ^Arthur Elson. Orchestral Instruments and Their Use* p. 222» "" 1111 —— —— —— 35

fall lafco unworthy hands. It cane about therefore, that all the art of the truaqpeter, all fanfares, fl®14 piece* £B&lltary gigimljg/ *nd prooeaaionala wm paaaed on from laaater to apprentice only by the xaoat exact teaching. This lnatruction, whieh wae regularly atip- ulatod in the indenture, waa carried out in a purely practical wanner, that 1®* through oral leaaona and with the Instrument, For thia reaaon, exeept for a little mention in choral and general male works, there ia found no reeorda in Germany of this centuriea-old art.10 3y the rulea of the Guild, the f»ldtro»B«iter waa confined to the aiddle and lower regietera, and the peter, who played in the higher register, waa forbidden to 17 invade the area aaaigned to the r#ldtr«ap«tar* t A "la JFahre 1623 bekrfcftlge und beat&tige Kalaer Ferdi- nand IX, ihre FriTiligien, und ale hielten an dieaen Ton den Kurffiraten zu Sachaen geeohfitaen Hechten bia in die neure 2eit feat* Aber auch aohon vorher bildeten ale feate •Kaater- adaehaften,* die streng auf Uberliftferung und Oeaet* achteten und nleht aulieaen, daaa ihre Mitglleder ait «fahrenden Muai- kanten1 oder gar an verbotenen Orten blieaen# Dieae Trom- peter-Zunft konnte ihre Abgeaohleaaenheit aber nur wahren, wann ale darauf achtete, daaa ihre Kiinst nioht in unreohte Hind# geriet. Ea warden daher alle Trorapetorkftnate, alle Fanfaren, Feldattleke und Aufailce nur in atrengater Lehre von leiaier auf den Lehrling weitergegeben. Dieter Unterrioht der duroh regelreohten Lehrvertrag featgelegt war, wurde rein praktiach durohgeffthrt, d*h. duroh «andliohen Fnterricht an und ait dma. Inatrument. Aue dieaem Orunde haben aieh auch deutaeham Boden bla auf einige wenl^e !3arw*hmng in Chorund allgeoeinen tfuaikwerken biaher keine Aufseiohnuttgen aua die- aer Jaiwhundertealten Kunst gefunden." Oeorg Schfineisann, grweterfanfaran JtgjSjiffi und pMgHsM* &ML ISM gfElMMX, Hail*. Band 7. id* Even aa late aa the oarly eighteenth oenlury, there ia the oaae of the Duke of Saxe-'fteinar, who had to apply for adjalaaion to the guild in regular form, and, in exactly the aaaw manner aa any obaoure applioant, paaa an examination in truMpet playing, a aoleianity for whioh aoiae forty aauabera traveled to Weinar. See Klaon, ibid., and Werner Menke, S&S S2& StoSsl» P* 27» *?3Mha» clt.» p. 329» 3t>

Tiusical exa&qjles of parts written fox* truiapet In the renaissance are quit© elusive. Until well into the seventeenth century fixed instrumentation for ensembles was rare} composers might write for any combination or with none in particular in mind. Compositions might specify "for voioe and instruments," or "for two instruments," or "for five wind Instruments," or might speoify nothing at all. As Bukofzer remarks, "the structure of the linear parts was isore 18 essential than the medium in whioh it was realised." 1 Q Such a composition is the "Gloria ad mo dun tubae" by Guillermus Dufay (llj.OO7-ll4.7if) for "two voices and two brass pQ instruments." The opening aieasures of this work are shown in Figure if,. The top instrumental part could very easily be for tnuapet, and the botton for trombone. Tho inafcrucaents alternately play tlie ostinato figure or "pes" several times {Fig. 1+)» then take up another figure and repeat it several tizaes, etc. Pig. 4* > (c), and (d) shows the other ostinato figures employed in this work. ^Manfred P. Bukofser, Music in the Baroque Era. p« 13, ^According to Charles Van den Borren, Oulllauae Dufay. p. 1X4.3* the terra "tubae" was at that time a generic name for all brass instruments. 20Lehxaan Engel, Henalssance to Baroque, X, 11# e Em a

ESSE STIMM F—M i

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B . 4— f«s" from Oufay's Gloria a£ «aa..M tubae 38

The oornetto was habitually exnployed as the soprano voice for brass ensembles, with trombones aa the lower voices. This combination 1® exemplified in th® later works of Giovanni Gabriali (1557-1&12). The oornetto, although 2i described by Bukofser as a "wooden trumpet" has littla in common with either that instrument or the modern cornet*

Tha similarity is oonfinad to tha fact that they ara both lip-vibrated aerophones, sounded by a cup-shaped mouthpieoe*

Tha oornetto was essentially a tube of wood provided with

six finger holes, which gave the instrument the ability to sound conjunct notes in all of its registers* wherein it

achieved its preference over the trumpet* It was mad® in

several sizes and shapes which bora various name®. The

cornettlno {G. klelner Zink) was pitched in e*. The normal

oornetto {G. Zink) was pitched in a« The tenor else, oor- 22 none (0. Grosser Zink) was pitched in d. The possible exlstenoe of "sliding trumpets" has already 21 been mentioned. •' Saohs presents a strong case for this pos-

sible predecessor of the trombone in a recent article, from

which excerpts are given below?

It has been taken for granted that trumpets in times before the introduction of valves in th® 19th century ware generally natural instruments with only the few p«l nBukofser, £j>. cit., p. 2k* 22 Apel, "CornettHarvard Dictionary of Music. See Virdung, oj># cit., Plate' /Bv/Vfor various sixes of Zlnken. See pp. l|l-2. 39

skeletal "overblown" tones that wo know today from bugle calls. Many, If not most, trumpets on paintings arid reliefs of the 15th and early l6th centuries . . • are not held bell up with a single handj they rather point down and are curiously supported by two hands, one oloae to the mouth and one at the first XJ turn* We find them depicted almost regularly at court dances and banquets In trios of one trumpet and two shawms of different length. The collaboration of a trumpet in part-uaaaio of the Middle Ages and the Renaissance is certain, yet its inability to play a normal melodic voice part is equally certain. How can this puszle be solved? Bach and his older contemporaries had a similar problem whenever they wished to give acre force and luster to the soprano part of a chorale. As a satisfactory expedient they availed themselves of a tromba da tlraral or "slide trumpet," whloh was an ordinary"*folded trumpet with an extraordinary Mouthpiece| the latter*s "throat* (the part entering the tube of the instrument) was Ions enough to serve a® a trombone-like telescopic slide /see Were there similar devices in older times? The present writer has felt certain in these last thirty years that there were. As early as 1920, in the first edition of his Handbuch der SuslMnstitifflententeid® and later in his History of Musical U® r®ferred to a Venetian quattrocento painting . . « by Antonio Vivarinl and Crlovanni d'Alleaagne. Although this painting proves the existence of slide trumpets in the 15th century, it does not show what m would like to see: two different sliding positions in playing an instrument {which indeed cannot be represented on the same painting) or at least in playing two otherwise identical trumpets in a set. I can now offer a documentary illustration of such different positions in the beautiful woodoarvlngs at St« Wolfgang on Lake Aber in Upper Austria by, the great Tyrolese master Michael Paoher (o. Iif35"98)Above its central seen®, the Coronation of the Virgin, two angels, facing one another, and obviously meant to form a pair, play trumpets of Identioal shape and sice, folded in narrowest

^Reproduced in Robert Stiassny, Michael Pachers St. mifmnrnr Altar. Vienna, 1919# Plate vi] according to a footnote by Sachs, who gives a photograph of the painting, facing p. 65 of his article, 4o

S-form like the modern ones* But the way they are han- dled 1# by no meansmodern: the two hands ar© not held together to form a safe support by keeping the instrument in the right direction and pressing it towards the lips. On the contrary* one hand, close to the lips, supports the mouthpiece with two fingers} the other hand, almost as far down as possible, grasps the first U-turn of the tube, with the palm facing the player* The only convincing explanation of the different han- dling seems to bo that the first hand, way up, presses the mouthpiece so firraly against the lips that no movement away from the lips can part it from the mouth| and that the other hand, held with the palm facing the player, must be ready to pull the instrument out and in, that la, to make it slide down and up along the well-greased throat of the mouthpiece* Indeed, the two instruments in Pacher** Coronation, which we called of identical shape and size, differ in one detail) on the left trumpet the distance from the mouthpieoe to the second (upper) U-turn is approximately as long as from hair to chin on the angel's face (which amounts to o* 9 inches with adults)) the right trumpet has no such distance except for the negligible length of the mouth* piece Itself. In other words, the right trumpet is being played in *first position* without using the slide, while the left trumpet is being pulled out* If we must conclude that the time around 1500 made frequent us© ©f slide trumpets, the clumsy doggerel verses in which Martin Agrlcola's luslca ins trument alla deudsch described the brasses in 152o might have a KTEHerSo unsuspected meaning: "Ktllche aber habeb der ldcker keyna Hur allein oben und unden eyns Auff diesen wird die melodey/allein Durchs blasen und Ziehen gefart rein als sein Busaun Trumeten und Clareta.M which sight be Englished as: Some have no holes at all, I trow, Save one on top and one below: Claretas, trumpets, and trombones Dy breath and sliding yield their tones. Obviously Agricola does not confine the sliding motion (ariehen und fuhren) to trombonesj the words seem also to refer to the trumpets that he calls "trumeten* and wclar©ta»w^5

^Saehs, "Chromatic Trumpets in the Renaissance," Musical Quarterly* XXXVI (January, 1950), 62. lp. '•*

With fchia information at hand. It can be seen that the following exaaqple {eee Fig. 5)» taken froa the Motet Stlrpy Moeenigo by Antoniuo Romanus (lljl3)» could conceivably be for the Inot mentation that 3ch©ring has assigned to it, i« e«, two truripeta and two tronbones. It may be noted that the trumpet parts here bear no re- semblance to modern bugle calls, which, as 3achs points out above, was the idiom of the natural trumpet of the period. The fact that the trumpet was established as an instrument worthy of participating in art atusic toward the end of the sixteenth century is brought out in a statement by Kent on» . . • we would classify as soloist aaisie the Concerto for trumpet by Scipione Bargagli (1537)> and represent* ing apparently the first use of the tern Concerto for a work for one instrument with rlpieno.2'

26 Arnold Schering, Geschiohte Der Iffusik in Beispielen, Ho. 20. In a footnotS Saha'Hng' •U'Emt*~"lS "EKa opiglSai, as usual, no specifio instrumentation was given (Im Original, wie tiblioh, ©fan® jede Beset mrngsangaben) *n *^Egon P. Kenton, "A lot® on the Classification of l6th Century Music," Musical Quarterly, XXXVIII (Anril, 1952}# p. 208. 42

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Fig# 5*—Excerpt from Motet Stilus by Antonio Hois&ms CHAPTER III

THE BAROqjTE EM (1600-1750)

It was during the baroque era that the art of clarino playing reaohed Its culmination. For one thing# the rise of opera gave opportunity for the dramatic properties of the instrument. For another, the trumpet had long been associated with royalty and nobility, and the practice in this period of maintaining court composers and increasingly elaborate instrumental ensembles produced a situation extremely conducive to the exploitation of the instrument* Michael Praetorlus, writing in l6l9, gives a description of the possibilities of the early baroque trumpets Trumpet J (coiamonly Tarantantara or Tuba, Italian Troaba) is a noble instrument, It a good' perfonaer can well and artistically master and manage it. And it is also wonderful that one can produce without a slide (wherewith the trombones are governed) on this instrument in the upper limits nearly all the tones one after the other, also several semitones» and produce all sorts ofraelodies thereby. 1 Praetorlus states further that the trumpet was coxaaonly in D but that crooks (Kfruaobftgel) were available to lower

"l ' ' "Trunsoeti (Vulgo Tarantantara, seu Tuba, Italia Tromba) 1st eln herrlich Instrument, wenn eln guter Melster der is wol und kftnstlich swlngen und regieren kan drfiber k&npt: Und 1st gleich su verwundern dass nan ohne einlge Z&ge (daralt sonsten die Posaunen regleret warden) auff die- sea Instrument in der H8he fast alle Tones nachelnander auch etllche Semitonla haben und allerley oelodeien m wegen bringen kan." Michael Praetorlus, Syntagma Musicum, II, 32. h3 14

tha fundamental to 0 or 3 flat# H# giraa m tabla thoving til® rang* ©f tha wind inatmuaanta, and that portion apply* ing to tha truant i# ahown in Figure 6. Tha table dooa not ahow all tti# siotas that ean be obtained* The white notea ahow tha normal range, and th© black notaa ahow tha range obtained by Talaatto* technique. Apparently Prae* toriua refera here to tha clarlno technique, deaorlbed on p» 28 •

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Fig. 6.—The range of the truopet, froa Pr&etorlue«

2n falaetto voioaa, tha aana aa in tha faauaan volet, I have indicated with blaek not###® (Fal«et Stlaaen dam diaaalblgdieaelblgae ao wo!l hutaana veee • • • , loh nit aoJ*w*r*«n Hotan beaelehnet ks

According to Praetorius1 chart, which i® for the eight foot instrument in C, the normal range of the early baroque trunlet was frem & to 01 *. The pitch f * * was considered rather high, but apparently it was not unheard of for an outstanding performer (1. e., a clarino player), to play as high as f,,f, the twenty-first partial. The lowest pitch used was commonly c, but the fundamental, C, was occasionally used* Further indications of the possibilities of the trumpet of the early baroque are given by one Girolamo Fantini, who apparently wrote the earliest aethod for trumpet, published r in Frankfort in 1638. The title page of Pantinl* s work states that this Is as

In many sonatas such as Ballads, Branles, Caprices, Sarabandes, Oorrentos, Ornamentations, and sonatas with the Trumpet and Organ together.3 Pantinl shows in his work (a digest of which is to be found in appendix No. IV of this study) that at this early date the trumpet had already been exploited in the performance of chamber music, and court music, it was no longer an "outdoor" instrument, Pantinl states, confined to giving

•^Qirolaxao Pantinl, Modo per Xmparare a Sonar® dl Troraba. Tanto dl Ouerra Quant o' Musl'calaente "in' '6'rgano', coin ¥roiaba r" Sordlna, col Clmbalo, e ogn* altro istrwaento. Aggluntovgi molti sonate, ccxae Balleti, Brandl, Capricci, Serabande /sie7, CorTentl, Passag!, e sonate con la Troraba, & Organ© insieme. 46 signal# and fanfaresTruapeters had now aequired facility In playing trills, an# other orniuaents, as is evidenced by Ms raathod, and aoat important of all, had realised the necessity of learning to read imiaic. Mersenne gives an account that demonstrates Pantini«s qualification to write such a work. After discussing the upper limits of the trumpet1s range, Mersenne says* Since there is a further descent /second octave of the harsaonlc seriesT, and it is made from the third note /fourth partiagy the second /third partial/, through a minor third* "though difficult, until the third note la reached, which the mas of trumpeter® are not abl© to go beyond, I suspect that the most learned truapeters are able to so control the breath that they produce single tones through the scale from the third or even from the fifth note toward the upper register, that is, ascending by degreesI these things that I suspect are greatly heightened by a letter sent to me from Roue by Father Bourdelot, the most learned doctor, in which he assert® that h# heard from Girolamo Pantini, fch® moat excellent trumpeter of all Italy, that he played all

^*Ron piu in aria come gia ai soleva," Fantini, oj>. clt., p. 6* ^Mersenne1s chart shows the notes of the trunpet as starting on the second partial, 0, rather than the fundamental, 00. "Mersenne*s jaeaning at this point is not clear. The word here translated as "minor third* is aeaddltopiaa (nomina- tive, -us). However, the interval between Mersenne*a second and third notes is a perfect fourth. The minor third would occur between Mersenne*s fourth and fifth notes. J. P. Cro- nin, professor of Latin at Southern Methodist University, who so kindly translated this entire passage, suggests that semi- dltoy.s iaight a©an ntwo-and-one-half tones (ateps)Alelt would equal a fourth. In that case, however, Mersenne would be guilty of an inconsistency, as he had previously referred to the minor third as sealdltonus. See Karln Mersenne, Bar* monicorum. I, 55« k?

the tones on hla trunlet, matching them well together with the sounds of the organ of Cardinal Borghese, which Girolamo Frescobaldi, organist of the Duke of Btruria and the Roram Church of St. Peter, playedi although the trumpeters of the Buke of Crequi, who was then en- gaged as ambassador-extraordinary froa our most Chris- tian King Louis XIII, asserted that the tones of the aforesaid trumpeter w®r® false, confused, and almost entirely without order. However that may be, whether the steps can be made, or not, it is worthy of consider- ation, why they are not mad© precisely, and the aforesaid intervals, so that anyone might finally attain the true techniques of that phenomenon.' However, Menke, while acknowledging Fantial*® importance, is somewhat dubious of his reported exceptional skills Interesting in this connection is the attempt by Fantinl, a Tuscan court trumpeter of about 1600 /sic/* adapt the lnstrument-wlth its limited number of sounds-for all-round use. He tried to give the curved form of truxopet—what Prfttorius calls a Jftgertruaaaet—a ohro- matlo seal®, apparently by aeans of stopping# One reads in various dictionaries and the like that he was able to

"^Sed cum descensus sit ulterior, 4 a 3 nota ad 2 flat per semidltonum, licet difflculter, priusquam attingatur tertla not a, quaia vulgus Tlbicirrum praetergredi nequit, sus- plcor erudltlsslmos Tubicinesx splritum lta moderarl posse ut slngulos tonos a tertla, vel a quinta nota versus acutum efficlant, hoc est per gradus ascendant: quae suspicio lit- teris dominl Bourdelotij Medio! doetisslal ad m Roma missis vehementur augetur, qulbus asserit se ab Hieronymo Fantino Tubioine totlus Italiae excellentissimo audivisse quod tonos omnes sua tubi caneret, eosque sonls Organl Cardinalis Bur- guesij junxisse, quo Hieronymus Fresco Baldi Duels Hetruriae, acEooleslae Romanae D. Petri Organists conclnne ludebati Q,uan- quam Tublclnes Duels Crequysij, qui tunc extraordlnaria pro Hege nostro Christlanlsslmo Ludovico XIII, legatione fungeba- tur, asserverint tonos praedicti tibiclnls spurlos, oonfusos, & penitus lnordlnatos fuisse. Utut sit, sive posslnt 1111 gradus fieri, sive repugnent, dlgnum est consideratione, cur no/n7 lta fiant obviam, ac intervalla praedicta, ut quis tan- dem illius phaenomenl veras rationss assequatur.Marin Mer- sezme, Harinonlcorum. II, 109» If8

pl&y a complete chromatic scale quite purely on the trumpet. This Incredible fairy-tale of musical history arose from Fetis'a obvious misunderstanding of a passage in Mersenne. Thia account merely gives the impression made by Pantini*a playing on an (apparently stopped) trumpet. If we refuae to agree with thia view that the trumpet was stopped (it originates with Elchborn and is baaed on the faet that moat of the Italian truiapeta were wound and therefore accessible to the hand), we may still suppose that Pantini lowered or raised the natural tonea somehow by means of pressure." Peila' account of this passage in Mersenne is misleading, but perhaps not to the degree of "a fairy-tale of musical history," as Menke would have us believe. Petis1 version reads: tfantinl, (Jerome), bom in Spoleto in the last years of the sixteenth century, or the first yeara of the seventeenth century, was chief trumpeter in the service of Ferdinand II, Grand Duke of Tuscany, who governed his States from 1621 until l6?0. It is probable that Pantini visited Germany and remained some time at Frank- fort, where a work of his composition was printed in I038. Father Mersenne, according to a letter from Doc- tor Bourdelot, writing from Rome (previous to 1636) says that Pantini was the premier military trumpeter of all Italy, and that his skill was so great, that the doctor heard him one day produce in natural sounds on his instrument all of the chromatic notes that the celebrated organist Prescobaldi was performing on an organ belonging to Cardinal Borghese, while the trumpeters attached to the Cuke of Crequl, Ambassador of Louis XIII to Rome, wishing to imitate him, produced only raucous and confused sounds• Pantini published for his instrument a work of great historical interest, which was entitled: Method for Learning to Flay . . . , There is to be found in ¥his work, adorned by a portrait of the author, a hundred pieces which bear for titles,

®werner Menke, A History of the Trumpet of Bach and Handel, pp. 51-3. 49

the names of ft hundred illustrious faailies of Italy and Gerwmy»9 It I# apparent that Fetis has, aa lento suggests, miff- understood Mersenne somewhat. Firstly, Fetis apparently read Keraenne' s aemldltonum as seaxltonunu and translated it as chromatlques. Secondly, Bourdelot did not hear Fantini matching the tones of the organ, but states that Fantini had told him that he had done so. Thirdly, the trumpeters of the Duke of Crequi did not attempt to imitate Fantini, but dismissed his efforts a® not being true trumpet-playing« In his Method for Learning, to flay the Trumpet * * # Fantini does not describe the method that he used to play pitches not in the harmonic series, but in the fifth part of

0 -- \ \ ^ "Fantini, Jerome, no a Spolette, dans les dernleres armeea du^selxlkm® sl&ole, ou dans les premiers armies du dix-septieiae, fut trocrpette-xaajor au service du grand-duo de Toscane Ferdinand II, qui govern ses Stats depuia 1621 jus- qu*on l6?G« II est vraiaemblable que Fantini vlsita l'Alle- magne et s'arr&ta quelque teapa a Francfort, ou un ouvrage de aa% composition fut imprint en 1638, Le P. Meraenne, dfapr«s uimi lettre du awSdecin Bourdelot, eorlte ds Rome {anterieurement it lfaxm.4% 1636), dlt que Fantini Italt le premier ^rompette de guerre de toute 1(Italle, et que son habilet® 4tait si grand®, que oe mldeoln l*entendit un Jour donner en sons purs sur% son instrument toutes les notes chroraatiques que le c£lebre organlste Fresoobaldl executalt sur un orgue appartenant au Cardinal Borghese, tandls que le® troapettea attache® au du© de Crequi, aabassadeur d@ Louis XIII a Rome, roulant l'lmlter, ne faisaient entendre que dea sons rauques et confUs* Fantini a publie sur son instrument un ourrage de haut lnteret hlstorlque, qui a pour titre: *Modo per imparare a sonare . . . .1 Onfcrouv© dan s cet outrage, ©me da portrait d© l»auteur, cent pieces qui portent pour titres, les noms de oent families illustres de 1*Italle et de l«AUemagne,H J. F. Fetia, Terselie Pes Musicians. "Fantini, Jerome, Vol, III. 50

Sonata for Ascending, from the Bass to the itsmmm*w writes the pitehm df, f', and a1, which are Just above the third, fowth, and fifth partlals, respectively. It is possible that Fantini did us# a "wound" trumpet (actually wound, not merely coiled) as Kenke suggests# Prae- torius calls it the Jigertruismat (hunting trumpet) but Fan- tini refers to his instrument as the troaiba di mmrra (trumpet 11 of war, military trumpet}* According to Menke the most exhaustive accounts of the use and technique of the trumpet in the seventeenth oentury •%2 are those set forth by Daniel Speer in his treatise, "In- struction in the Musical Art" (1697)• The fundamental tone he calls Flattergrob, the octave grob (coarse), the fifth faul (lagy), (probably meaning "slow in speaking"). "The fourth voice is called the middle-voice, and marohes and alarums are blown in itj it is middle C*" Fifth voice, Principal. "In this also alarums, sortie®, and so on are blown; this is a beautiful voice; he who knows how to treat it rises into G, goes up to treble C, and commonly ends when many trumpets are together (i.jgi., in a polyphonic passage) in S* The sixth See Appendix IV, p. 17^ of the present work, **F. 1. Qalpin, in Old English Instruments of Music. p« 202, states that the wound form of trumpet was known in Germany as the "Italian trumpet," For an illustration of this instrument, see Charles Sanford Terry, Bach's Orchestra, facing p. ij.8. 12Speer (1636-1707) was collaborator at the grammar- school at Goppingen. H# J. loser, "Daniel Speer," Acta Musi- cologioa. Vol. IX, 1937, rates Speer as "a distinguished authority of the "knightly art" between G» Fantini and J. JS* Altenburg (eln stUttllcher Zeuge swischen 0. Fantini und J. E. Altenburg)Speer apparently uses these terms to identify either tones or parts (see Figure 7)• $x

voice is called the other olarln, and ought always to go a third lower than the HraF'elapln* is however in oommon use employed only up to F, or at stoat G in alt, except in oertlren (i.e. solo passages)• Yet where two equally good trumpeters are* they may nimbly play higher than to the height here shown. The sixth *3

t * ' * U s 1 r

voice is the first clarin; this rises now from treble C and goes up from this to the 8vaj also some manage to reach up to F in alt. One finds few private persons who learn this instrument, the trumpet. Reason, it demands very great bodily powers and so is extremely troublasoiae to an Incipient • That he nay come at truiqpet playing the easier, let him from the very beginning accustom himself to set the mouthpiece to the upper lip most exactly and not to his nose or half the lip, because through this sharp embouchure the lip-flesh is accus- tomed to swell and s© the bowl of the mouthpiece (if the embouchure be so far therein) becomes filled out, and the tongue has no more rooaj indeed, it hinders the breath from coming in} and no matter what the bodily strength, it will finally be tired, because the outgoing of the breath is stopped and it cannot have outlet; thus the right embouchure is the thing of most note in trumpet-playing. And above all an incipient shall accustom himself to draw in his cheeks, not blow them out."1**-

Fig. 7 is an Aufsug (processional) for six trumpets from Speer1 s work.^

13 This should be "seventh voice," as the nother clarin" was referred to as the "sixth voice." •^Both original and English translation from Werner Menke, The Trumpet of Bach and Handel. p. 73* 1%as Brbe Deutsche!* SWusik, Band f, P» 52

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l?ig* 7»—Proceseional for six truispets, by 3p*er 53

fhi# axaqpla thorn* tha disposition of parti by Spmw, mviu&tm Bmrnmsk* A tmt lifeti® is thatrautas axista d for tha truapata of this period. n«f«nmo«o to tha out© «m ana# lOnoiit casually, pit the a*t* I«H®4 two iaportimt functions. That It aoftanad the ton* is avidant fro* ita Italian naua, JUBBttllft* function pamslttad *h* truant to tafca pay* £» tha small anaanbla op indoor works of tha period* SJuch las® obvious 1» th* faot thatfelm aut o of that tijaa (unlika today) altarod the pitch of the truapet, raising it a whole ton©* An early use of the saite oeours in tiontsverdl's Qrfso (1607)» »toere tha composer indioated, aa will b« shown later (p* 62), that if tha sated trumpet vara ueed, it would ha neceaaary for tha orchestra to play a tone hi£wr« Mersenne, writing in 1636-3?* gives an illuatration of tha mte (see Plata If) and describes ita use* • # • If nevertheless you will have first observed th® wooden tuba, whidh in unu&lly fm boxwood, or eoae otter hardywood,* 3?-?, customarily placed in tha ball /oodonanAy G, when it is to be playad dully, that m e&ll It spurdim# Sapf the foot3/il® MNn In th» hand, ao 1SBS5eE®fSi 0 £ inserted in the truapet, will laaaan tha opan bore* or rather raiaa

Aooordin& to J. S. Brown, profeesor*eateritue of Latin at Worth Texas State College, Denton, Texas, oodoneii la a Latin tranalitaration %f tha Greek word Ku/SwtCovos» *a bell." Tha Latin equivalent la codoti-oodonla« 5k

It /In pltch?7* and that the sounds of the trumpet may pass through this small tube far more compressed.1' Pantini writes for the trumpet la € in his trumpet method (1636) previously discussed, but indicates that with the smt© the pitch is changed to D (ne per la Tromba Sordina si deve sonar per de sol re."} 18 Altenburg, as quoted by Terry, gives us the information that: The Surdun or the Sordln. gets its name fro® Surdus« that isi weak, or dampened* Actually it is an instrument turned out from hard and solid wood, that Indeed of Itself gives no tone; however if it is stuck down into the trumpet, it not only gives an entirely different sound, almost similar to the oboe, but in addition raises it, if it is well turned, a whole tone.1'

17 » . * si prius tamen notaveris tubulum ligneum, qui fieri solet ex buxo, aut alio ligno duro,<*31, in eodonem 0 impelli solere, quoties Surde canendum est, hinc nostri vo- oant JJjfc Sourdine. Porro manu capitur pesi ft , ut oallx aOC impulsus in Tubam, illius oavum patulum 0 imminuat, vel potius tollat, & sonus tubae per istius tubi eavua longe striotius transeat." Marin Mersenns, Harmonie Pniverselle. "Harmonioorua," IX, 109* 18 J. E. Altenburg, a trumpet player and the son of a trumpet player, wrote a treatise in 1795 entitled, Versuoh einer Aal«ltraift mtr heroiaohcxuslkallschen Trmm&tBr~una

^"Das Surdun oder der Sordin. hat seinen Namen Von Surdus, das isti schwaoh oder gedaapft. Eigentlich 1st es ein von hartem und festem Holse rund ausgedrehetes Instrument, das swar an sich selbst keinen Klang von sioh giebtj; wenn *s aber unten in die Trompete gesteokt wird, so giebt es ihr nioht nur einen gans andem, fast einer Oboe Ihnlichen JClang, sondem erhfihet ihn, wenn er gut gedrechselt 1st, auoh ua einen gansen Ton." Quoted, without translation, in Charles Sanford Terry, Bach*g Orchestra, in a footnote, p. 26. 55

Plat® IV.---Truapat and mat© 56

In writing for the trumpet the composers of the early baro

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Fig, 9»*—**thod of notating for th® transposing trumpet In the baroque. As In the Renaissance, the nluaes applied to trumpets referred to the registers In which they played, and did not demote different instruments. Qatty gives the following chart showing the division of the partst

CLAH/MO — T«Qf16* (?*RBLY U_ •fe 2. *3 51 .jAi CLB^i/OQ PRINCIPAL S VA b ! Fig# 10»-"-Division of trumpet parts, from Oatty

This chart does not precisely correspond to the notes of the harmonic series, Gatty»s chart indicate* that the eleventh partial (fw) could be played either natural or sharp. Since the eleventh partial is a little sharp

20 Kicolas 0. Oatty, "Trumpet," Grove•s Dictionary of Magic and Musicians. Vol, V. 1 59

21 according to equal temperament, either pitch (f* or t*#) could be obtained through slight adjustment of the erabouohure ("lipping"). As for the use of the trumpet in the music itself of the baroque era, we find that the instrument was employed in many compositions of historical interest, as well as of musical worth. ^ Monteverdi wrote an opening fanfare for trunpets to his opera Orfeo (1607), giving us the*earliest known operatic overture extant (see Pig. 11). It had been the practice for trumpeters to play a fanfare, apparently of their own devis- ing, before a dramatic performance, and Monteverdi decided 22 to incorporate the custom into his opera# There is nothing to indicate that he continued this practice. This innovation by Monteverdi is touohed upon by"several writers. Soma statements are atade that cause confusion, and the importance of this early orchestral use of trumpets warrants an investigation. 23 Pig. 11 is the overture in reduction as shown by Parry. 21 Apel, "Acoustics," Harvard Dictionary of Music. Vol. - gives the eleventh harmonic as f$rt, but states that this is lower than Just intonation, and is nearer to the f than the f#n of equ*l temperament. Adaa Carse, The History of Orchestration* pp. 23c. Hubert If. Parry, The Oxford History of Music, Vol. Ill, p. $1. Botstiber quote® as the earliest written overture, that written for a dialog® by B. Donatl, 1599• Hugo Botstiber, Qeschichte der Ouverture. p. 11 and p. 233 • 6o

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In referring to Monteverdi1 a Orfeo 3chwars writes: v I£onte verde called for two ooroettos, on© small clarion, u and three trumpets, as veil as four trombones. This ^ 1 • was quite a "brass" section, sv»n though there were sbout twenty stringed instruments In the orchestra. The interesting part about the use of trumpets was that Monteverde called for them to be played with zaates*2

~~2^H. W. schwarx, The Story of Musical Instruments, P. 162. 2^Ibld., p. l6?» 2^Cecil Porsyth, Orchestration, p. 90, 62~~

that time had neither. That the bore of the Clarlno was narrow and the cup of the mouthpiece shallow is generally accepted, but otherwise 0larlno-playing is simply the use of the higher open notes of an ordinary lone fcruiapet acquired by long practice with a suitable mouthpiece. It Is only frors. the eighth note upwards that adjacent notes can be obtained on any brass instrument without either valves or slides, and the C and D trumpets were long enough to enable players of the seventeenth century to reach that portion of the harmonic series lying between the eighth and sixteenth open notes. The remaining parts of the fanfare are marked Quint a. Alto » Basso. Vulgano« and Basso. They are all obviously designed for the open notes of trumpets, in fact every part including the Vul^a^o and Basso could be played on an eight foot trumpet, nevertheless the directions are that all instruments are to take part in this, the earliest operatic overture extant.2' An examination of the following list of instruments given in the facsimile edition of the opera slight clear the 28 situation somewhat. Stroaenti Duoi Gravicecibani Duol Contrabassl de Viola Dloci Viole da braezo Un* Arpa doppia Duoi Violinl plccoli alia Francese Duoi Ghitsroni Duoi Organi dl le^no Tre basal da gataba Quattro Tromboni Un regale Duoi Cornettl ITn Flautlno alia Viglslma Seconds TTn Clarino con tre trombe sordine

2^Carse, m>» clt., p. t|4* Carse states in a footnote that Monteverdi's TOlga.no is evidently the same thing as Pantini1s Vurgano, but that it is not clear whether these terns were' 'applied to the actual notes or to the part®. 28 Q. Francisco Malipiero, Tutte le opere dl Claudlo Monteverde. Orfeo. Vol# XI. 63

Above the fanfare appear these instructionsI "Fanfare that io played before the raising of the curtain three 'times with all the instruments, and is sad® a tone higher if the 29 trumpets are desired to be played with mutes.

~~Pig# IS shows the first measure of the fanfare a® it appears in the facsimile edition* ' I~~

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~~Fig* 12*— First measure of fanfare from Monteverdi * a Orfeo~~

^"Toccata ©he si suona avantl il levar d® la tela tre volte con tutti 11 stromenti, e si fa un tuono piu alto vol- endo sonar le trombe con le sordine.n "Toccata" (E. "tuoket," F. "touohe," a. "Tusch") was a term applied to brass fanfares of this type in the early seventeenth century, Apel, "Toe- cata (2)" Harvard Dictionary of Music. 6i|

~~Comparing tills Measure with the opening measure of~~

Parry*8 reduced version (Fig. 11} will reveal the signifi- cance of the double whole notes in Parry's version. The original was written with eight quarter notes in a measure, Parry wrote four. Hie inconsistency in notating the baas part in double rather than single whole notes is not explained.

Reviewing the quotations from Schware, it is apparent how he arrived at his figures "one small clarion, three trumpets," then later "five differently pitched trumpets," but it is Impossible to see how he concluded that the clarion was email, and the trumpets differently pitched. It has been previously shown that the difference between trumpets was in the register used, not in the length. Scor- ing for five trmapeta using five different harmonic series would liave been a history-iiaking accomplishment indeed*

It should be noted that Monteverdi's list of instrument* calls for four trumpets, while the score for the fanfare indicates that five are to be used. This is not a unique instance by Monteverdi of requiring in the soore more instruments than he lists. Pour trombones are listed under stroaentl. but the directions for the Coro di splrltl calls for five trombones.^

3°tfalipiero, oj>. cit., p. 107« All of the sources quoted above (Schwarz, Forsyth, Carse) fall to set forth an ioportant fact* The trumpets were not used in the body of the opera. Even where it Is stated that all Instruments are to play, the parts are impossible for the natural trumpet« Direetly following the toccata is a ritoraello. with nothing to indicate a change in instrumentation. The top thrte parts have several notes (g#% e#«, a*, f1, d*, f#T) that are not in the harmonic series of S. The vulgano and basso parts, if intended for trumpets, are diatonic and would lie in the middle and lower registers of the instrument, where they would be Impossible to play* In 1620, Orasio IJenovoli (l605~l672) composed a t reman- 11 dous polychoral Mass and Chorale for the consecration of the cathedral in Salzburg# It involved sixteen parts for voices, and thirty-four parts for instruments* Parts were written for ten trumpets, two of which were specified as clarlni» Pig. 13 shows the trumpet parts at the beginning of the composition. The division of parts is indicated in the score ass Choro I, eight voci in concerto, organ© Choro II, two viollnl, four viol® Choro III, two oboi, four flauti, two clarini Choro IV, two cornettl, three tromboni Choro V, eight voci in concerto, two viollnl, four viol© ^Orasio Benevoli, Peataesse und Hvatnus, 66

~~2 Loco, four trombe* fcywpani 11 Loco,«fouLOCO; r tramtm, tympani, organ©, Baaao Con- to*2~~

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32"loco I" and "Loeo II* suggest disposition at different points, prftsunftbly for antiphonal effacta. S«® th* facsimile of the first page of B#ii@v©3.i11 autograph of tMi work in R. Kaaa* Mtigjk dea Barocka, facing page §0, 6?

The Mass is in C, and the clarlno and tromba part® @r® i« C, which indicates that non-transposing instrument0 built or crooked in the key of C ware used. In the Kyrie, the clarlno parts are no more ooaqplex rhythmically than those of Monteverdi»s Orfeo. and are conservative in comparison to

* the other instrumental parts* Benevoli, however, calls upon slftriao players to produce pitches as high as the sixteenth partial, o*' *. The feroatba parts are melodic and are a® important rhythmically as the olarlno parts. Their range is not so high, however, never going above the twelfth partial

~~H I~~

~~Fig, llj.. —Excerpt from the Gloria of Benevoli» s Ptstaesg® und ffomgus.~~

In the "Qloria," the clarlni have a short rhythmic figure (see Pig. 14) marked "solo." There is an interesting canonic passage in which the clarlno I, the tromba II of Loco ,1> **** ^he tromba I of L»oco II start in unison, and are then imitated by the elarlno IX, troatoa X of Loop I, and tromba II of koco II« Usually in unison passages of this work the m the first parts in eaeh section are together, i# e.» the troaiba I of eaah LOOP, and the clarino I are in unison. The elarino parts ara the most florid of any in the Credo. and an the noat florid parts that they have in tha entire Mass* There Is a short seetion in which all voices and Instruments drop out axoapt tha olarlnl. tha trombe. tha t-ramanl. and tha basso eontlnuo. In this attVwaMtt» Benevol1 carries tha first troaiba of eaeh Loco up to tha

1 thlrtaanth partial, e* *# t The olarlnl hare two measures of rathar florid solo playing in the agmetua. with only tha bmao ooafctsmio playing a rhythmic background Tha texture of tha entire Sanctaa la thin, until the taxt reaches tha Oaatam. whan all parts join in. lw,i «* ^ jgwift llmMMfi, tmmm* aioviiig parta for the SEEEE _ chordal, and is very effective after ao notch contrapuntal texture* Shown in Pig. 15 is an excerpt fro* Hare Antonio Cestl's opera I»a Pori (l66l), as shown by Carae.^ I© instruments are apeolfled at the first of the score, but Carse oontends that the ooaapoaer certainly aust have introduced trumpets at this point. Ke is presumably speaking of the inatruaental figure Imitating the voloe following the word trombB* To

~~-^Carse, History of Preheatration. p* 65. 69~~

play thm top two 11m» with natural tnu^t* «rouM v@quirm imtrmmntm pltehad in A, with tha fundaaantal * fourth balov tti&t of th© usual D trwapmt, requiring an instrument; about tan faat in length* ^

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demm 'tmt scut® far %\mm In this work, feat ia®»« thma. effootivoly «rfe®a im does* Th# following exanpla fro» I£ Vmm WQmM.9tm>* 16} shove an unusual bit of writing for th» truMpot of the baroque in that the parts ar® aliased to ovmmi «a

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~~Wave Antonio Cwti, y«g» p» %* 71~~

In writing a trill on gw, C«3ti required the first truapet to trill a whole tone, frot& the twelfth to the thir- teenth partial. The second truagwt j>layer, with a trill written on e% had only to trill a se»i~tone, from the tenth 36 to the eleventh partial. 37 In Aet V, Scene XII of 21 ^ot:lQ P'Oro* there is a chorus ecored for voices, the only other instruaental reference being the word troatoe at the head of the top staff. The part is Impossible to play on the tnuspet, because it is conjunct in the middle register# and# being in the key of F, contains several notes not available in that series, f. f#*» and b-flat *« It Is probable that a trunpet fanfare was desired before the chorus, as the scene is a triumphal pro- cession, accompanied by a ©boras of soldiers. Fig# 17 shows three excerpts froa Aet II, Scene IX, of L# Ataazgonl (l679)2*W Carlo Fallavioino, also a ccoaposer of the Venetian school* In Fig# 17 (a), the trunpets have the tasy signature of 0, as do the other parts (not shown here)* It is evident however, especially because of the gP, that 36 This is assuadng that the perfoneer would trill "in key," that is, would adjust the tuning of the eleventh partial which is sharp to equal temperament. It is possible of course that the performer would allow the rapidity of a trill to cause faulty intonation. -"Oeati, £&• clt.. p. 173. ^Quoted froa Hugo Goldsohaldt, Oeschichte der Italian- issSsa opftr, 1, 1*03. 72

tli© trurapets are not (1 truragpots, but In all probability as*® I) trumpets, g#w -mpTmmnting the eleventh partial* Pallavi- eino further eoiapoms&s the confusion by later scoring the trumpets {Fig* 17, b) still with the key signature of 0, bat putting the m&vement la D, making it appear as If the tw®» pete are transposing* Judging from the harnony Involved with the voice ami eontiiaio parts, they evidently «m not* Ap- parently D truapets are still retired. The laat exanple I Pig. 17* o), for a single truapet, gives the trwapet it® aorsaal signature of *he iiavenwnt alao being inT>» U)yfl jy TkcriR£ fa rrfffrrr if r |

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An isolated exao&'le of baroque truapet compositions has been recently unearthed Is Bologna, Italy, suod described by Jean 3erger: Among the wpalth of iaanasoripts In the archives of San Petronio in Bologna a large nuaber of works for the unusual eonbi&atloa of trwapets, stvtagt* and figured Mas has been preserved, Much of this sutsi©, written during the latter half of the 17th Century, is by composers of perhaps barely smrm than local importance;

the developzaent of the concerto has been pointed oat repeatedly. Aswmg the extant soorea for tray*t*# strings, and basso oontirao there are probably forty or fifty by Torelli alone,a large percentage of which has eons® down to us either to soorea or in eooplete sets of.parts* . . . The basilica of San Petronio, mm of the largest chorohes in Italy, has a long malca! tradition which entered a pl»a© of particular splendor towards the middle of the 17th ©esfcary# Following a trend cur- rent in other Northern Italian eenters, the staff of singers and eipecially instrumentalist* mm considerably enlarged &nd in l6£7 l&uriiii© Cassatl (1620-77) was appointed aaeatro di oagpella. fit© first eollection of senate da sMeia containing caaposltions for a truapet and strings is iaorimi© Qa»- satl's Op. 35# which appeared in print in 1665, eight years after Cassati had began Ms work as aaaatro di oapella at San Petronio .... Very few of the Ban Fetronle jaaimserlpt® are datedi one sonata with two trumpets by Petrosal# Pranoesehini of l6d0f a snail number of works by Torelli bearing the dates 1&90* 1692, and 1693, and one sonata by Qiacoao Pertl of 1693, Despite thia lack of a precise cfar©p®« logical order it is striking to notiee that, teohnioally at least, the trumpet writing reached its ultiaate level in a comparatively short tine. The D trumpet was the only one used at San Petronio; in Casaatl's work of 166$ the range of the instrument was fairly liulted: . .

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The themes were ooncelved In typical triad patterns and their values were usually restricted to halves and quarters . , • . But in the next dated acore, the Sonata JP @1* 1680 by 7x*MGM6hitsl * the r&^ge of the # been extendM tot

«ad motifs la half notes have been ®$mmSmm4. la Jtarer of rapid p«s»*sm whieh ere ©lmmet«iri*tie offchu whol e Bolognese trumpet repertory. In some inataneee a similar disposition eau be roam! in score* written for two trunpeta, two oboes* strings, ami thorough bass . . *» fhe alternation between ta» tm groups ia neeiillyteas®# o n tie «tet«NMKfc ,#f a whole these by the tmgwt* which is often followed ®y a Passage for the string body and repeated by the two either xiote~for-»n0te or with a iBodulating ©ndingx ea shewn is this begSfmiiig of es mmsmcKm einfoaie con teosfee. oboe # -- - Jwausu* .

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A sttll isltr of @©»atas u©®a this fogato oftna*r &$ iat3P@da«l»g feta* part* la fcfe® last si*©# * proMlun soBciittslXf tvoidtd In thi ilsfoajl* and wo*

H»s loitatlea *w ms®4 in tte fir»t all»$r© of a work la thi* latter group, it was wmukUy mmUtUA «f M to »fcr»»« wife «f«a graataff #larity th* aoaearto^lite# oiaaraotaar of tha ooi^poiiItlimi tha strings tor fete® tiw» pat«) iatrotfuoa a thaaa . • • and taring it to * ©ad»»ee nbommpoo tit© trumpets {or €h» «trijag«) mtate «te ttea ia a lite wmmmr* Siallar self«oont&in@€ passages follow* b&aad osi fcli© thasae or theaatio derivatiozui * «m tiae too group* jfoiu only in a fw e«dan©o*» la eth»r word*, *» bay* bar® a» intarplay of th« opposing aeaorltlaa of tha string body and trunpat pair aliiofe conforms unralatajcably to tha concert© principle. Tim first wmmmnt «f & Teralll canaarta aAharaa to tfaia pattern?

~~JJTniai~~

~~TuTP" •xr rrr W r *J V.L-L, *—HO- g to~~

~~glpLu- i nym f * - rjkr -p—-—^— ills n i b m £} z£±=i g=f fel Ct t UUj'' CAj~~

~~t * t ?§ 1~~

Moat 4 £ &*«i coneertoa* .however, ato«Kl©» imitative acting la allegro jaovenenta in favor of the presentation of the thataatlo material In the mat p»- else eoneartad fashion* In thla osaasfttioa it la Im- portant to note that Gabriel111 s a*ny*»vol

~~ha f ^f •frr?~~

~~Cte. J l^lf llu 4 .•h± ^ #j »j, •jr iIjg l ' > f CtO •P J ^ ^~~

~~« . « In tli® following quotation*, the Jaeehlnl amrapla repreaenta & typical fclMeaafcle eosw&rttctlon of & last aovaaiesit, while Six. 11 /xx* 10,~~

It is t© b® hoped that f«fct«?e will yield jwv* detailed data eoooevnlng this teri^it phase of Bo- l@®»s« lartnnMitftl asaaio, an will u lnf©r®afci©» or th• trumpeter# theoeelire®, which is entirely lacking at preaeat, Th@ faet thut only Bologna—ana, la Bologna, probably casly San Petronlo<~»8hould han cultivated eon* aerted antlo fox* trusapeta and ttvlogi go persistently * f#ri©d of a little more than thirty year*, i» pussllng indeed* Hnfetw explanation will be fotmd, the repertory preserved to the areMveii of San Fetronio 81

represent* one of the aost festive and dynamic branches of til© instro&ental music of the Baroque m.39 la French; Bar®France to alter the harmonic series, bully rarely indicates at the first of the score that trunpeta are to be used, but just writes the word troaiocttes over the top staff at the desired point of entrance. Zn Cadalus et Moral- on* (1^73J he does not eaploy troapets until the sixth scene Ik© of the third act* (Fig* 18). The indication troispettes appears over the staff, axid apparently calls for two instruments in 0, although there are pitches that are not in the hawaonic series of C, manly, an a* in both parts* and an f * for the lower* fb# seventh partial appear* as b* natural* These questionable pitchea are marked by asterisks in the exaaple. As oan be seen by oeaeures 9 «od 10, they cannot be explained as passing tones, or "weak beat" tones* -^Jean Berger, "Hotes on Smi 17th Century Oppositions for Truap«ta and Strings in Bologna,* the Iftwlail aaarterlv. Vol. XXXVII, Wo. 3 (July, 1951)# pp. 3^P&7» ^Jean~Baptlste Lully, Cadraiu® et Berwlone. p. 1%,S* 80

~~p I !• i(-miEg lr) P P S iT^ rTTT~~

~~_ J^S* 13.--Excerpt froa Cadalm »t H»nalon». &y telly•~~

In the prologuo t© the op»M Aloeafce <16?%)*^ Lolly @*11# for a flourish (Bru^t .y»aw»tf •) for 0 trnmp^ts, art P of is repriced in Fig, lf# This oataapU again allows Lolly'« «b© of the raised sowath partial, asl of tth© pit oh a * f vhicb 11M oatildt tb> 6 Mriajty^auii vtix *g n. r&ro fM mm with telly of dyzuaie marking*

~~-'ig* 19#»-Trtaapet flourish from Aleeste, by Lullj~~

~~^Joan-Bapti«t« Lully, Alooat*. p. 38. 83~~

Although tally elearly indicates abovefell# to p ataff M* seores thm points at whitofe the troijHiti eater, te fall# to tmlm mtf indication «htm they si-e to e*a» pitying. Deepite the passage of alxtoat Imlf a ee»t«ry between the last opera of &ully (Ar«i4e» 1666) «urwi ttie firat opera, of Jean-Fhillipe Raaeau (Hlpipolyfeo Arloie. 1733) # Reaeau (l66>»176^) uaed tli® trumpet In Wm smm tmmMr «s Hi pre- Awnum** Se !*••?*•&fcfa© instrumen t for ©oeaai©n©: dmplet&mg, battle* or signalling fspoarfeamt entrsneea, rarely ualag it even in the overture# In HmfaTftf £& jffelf »•••*** aaploya an unspecified mmfeer of truapet*, as the indication at thefaegianiag o f ||2 Act X la »i«ply •a Rf. Fig* 20 allows thm only tnxapet part infcim entir e af>«ra# lartlng bat ten »e&#tt.r®s«

~~Fig# 20*—-the entire trumpet part from Hippolyte et Aricie. by tam.~~

~~1^2 Jean-Phillipe Raaeau, Hlppolrte et Arloie. p. 51, 8i|,~~

It is impossible to asoertain turn tha abbreviation Trmm* bov rauaj fenuapats Wrnmrna. dasivwt« bat ssnls* la tins singular. suggasts bat on©» Ths trusgpet* «r® t»r® b®lag and m transposing instruments* sin®# D tmsspets ar® specified, bat the harmani© Mrl«s of 0 is written* In the opera Les Indes Galantss (173$) Rs«eau again for the most part writes aa ladetMnmimte mmbmff of XESB* p»tf in ia« on ©a© staff, in unison* bat in ttie Xer Heaae.fc poor les Ctaerrlers et les AaesonesiP ttoer® are two traapet parts whieh are written on separate «tcr»«, tod at*© unison Mat of fch© time* These parts ape reproduead in P%» Si* Roseau» as we have ass®, (mitwarily wrote for D tnm-» pats as transposing instruasnts, i. ••, the key et the 3»ve~ asnt being B, he specified Troapettes in Ho. sad than wot® tha part in the C hisrawal© series, Shi eh pmeedwre folleirad »©b®»1 usage* In on® instance# however, Wmmm digressed frost normal praeti.es in a iwtel passling aeaner.

In Aet Xy Scene If of Castor at Pollux (173?)^ Bumu wrote a part for truapet in D* bat gave tha part the key signature of B flat (Pig. 22} * and isotated tha part in the 8 flat series* ffa® key of the aeiremant is 0. To fcfae jsodew terajpet player this seeaa to ba perfectly logicalj a D tru*- pat sounds a full stap higher than written, so the part shoald

~~^Jean-Phillipe Raaseu, |»#s Indas Oalantss. p* 375* ^Ibid* , Castor at Pollux, p» 106. 85~~

~~-J • T VT~~

~~JL— J0.. ;js• r r-f-Ff grmt. TKOMR E^5 mm #—#~~

Fig# 21,—fruapfit p«rfc® for th* lm mmamk mmw Mm Que relay les Awajwaes* toy l**a®«u b© written ft whole ton© feelov the toy of the jaoviawttt* How- ever, there i«ro two practices in the baroque period: (1) to um & truant In the swse toy mm the aoveaestt ** ft no&» transposing instromeBt* using th© haroonie mrtm of the Jsey* or (2) to writ# tli® part ** transpoaing, mating the Jmr~ iwmie «#ri»s of C» aa Baaeau does in the cxu^Im previously cited. Reithor of these practices was observed h»». JProta «i ooaparison of the truapet pert and the eontlmo pert m

it &« avidant that tha twapat ahould aouad a* full ton© higher, sjhlcr, would . lace it la fch© i»y (0> aa tii© muKsuo part, aaaafctogfete toaeaetii,® ampimm of £» Hiy did »©§ Hanaro stoply nm tam C tanaqpatf that JnrimHNOfe win ocrtai&Xy I» ©ewatsu mm&t fit that ttaa, and teitt eaXLad for It in tha prolog**® to «bl* aana opart* m laattar afiat !«*•* sarnie mtIh a [email protected] of Wm% pariad wm& raading, if ha w«r# pUfiog «.fcruaapafc i a &9 his lnatvunasfc iriH aouad ttm- haswo&le aariaa of D» a® that la mis inm&mmm tha part «eslA eoundfell® jgftje r third higteartel»a vrftttaa * X* £»» * f&Xl tona ftfew» tha coafeifm® part*

~~Tifff* 'P~ y+- inr~~

~~j > j > >; J JM J i : if.~~

~~Fig* Gs*a£x>g aeaaoraa of and Imago P«Pt to Aot I, Soana IV, 5sg6sE J&~~

In England, PurotU {1&59-169$> and Randal 7$&) mm thm doaljsstiag figpraa of tha baxoqua pariad. ?oreall a&&& littla uaa of troagpata in Ms aarly awrlea# Tha awfat Tlaion of Athana (X6?8) raploTi tha truMpat* in Juat tha first 87 few laaaaures of the mmptaarm* Dido wad Aanaa (1680?) did not UM thou At All.

Purcell'e truaspet part* ar@ ehar&etorlstically aon«Mrr*

yat contain eaou^b. exemptions to display M« raaourea- fulnaaa* 1© fraquantly raquirad diffaraotly pitehad trumpet® for diffaraat noraaanta of tfaa aansa coapoaition, a. £*, tha opara Pioolaaian (1691)» A dawioa uaad but OQM by Ban4al^ tod by Baoh MTST*

WaXooiaa Swig Sound tha Trowpat (168?) employ® no truapata in tha varaion offarod by th» PoreaXX Soeiaty in tii© body of tha volume. However# om of Vbm "varioaa read- ings* found in tha test of tha wslma^ shows that tlw Kent aamaoript in tha Buckingham Palftoa Ubntry haa a aaetion for "Xat Truapat in D" mad "2nd Truapat in D#* tha parta % &r© written in tt»# C sariaa, s© tha truapata ar© pe&foaraing ma transposing inatruaanta, whieh ia not ihuuraall * s usual iaathod of writing for truapat**

~~In flam Yorkshire Feast Some (I6Q9) th® truapat* art givan a prominent plaoa in the opening siaasuraa of tha work~~

~~(Pig* 23) it ia aaorad for two truapat* in D« noa- transposing* with th@ parta crossing frequently.~~

~~^In 1bto® Occasional Oratorio (a«# AppanMx IX). Jaiassa p. i^6. VTpurceXI, fha Yorkshire f»&®t Song. p. 1# 88~~

*3%. • '**v F\*es-h©s o f [_f J jE r ^ttrr fa 7 i# # i* (* li-ji '• i jJJJ R U LETC/I SF

~~Fig* 23»--Tru«pet parts for the opening neaaurea of fhe Yorkshire Feaat Song, by PuroeH.~~

Furcell * a trumpet parts are habitually smooth in line, ©specially when but a single trumpet la employed, The Sym- phony in the music for drama, King Arthur (1691) employing one truspefc in C, la an exception. An excerpt (Pig, 2l±) shows the angular nature of this part*

~~FLB'FLKFCL'IjOL TIFF~~

~~Ijjygjggf njn mm*JJJJgy Pig. 2I4.. —Excerpt from King Arthur» by Purcell~~

~~Purcell, Ring Arthur, p. lJ+2. 8§~~

Thm Fairy Paean (1691-2) contain* & very umeual pleoe, The Bcho, tit fh® only lnetruaaents is$olir®€ &r@ the tnuvftts ant ©boss In unieon, mnd the imtrmmntml b*«8» fh© unique** 'fst, the saalier is, mm might be «umis@d by the 21am* 4ue it I© supposed to portray* Fig* 25 shows >&*eiupe» of the truspet ant oho© part«

~~„ y s ) SOtt I (.0**. »Hd ^©ift r \ 0w4 ^ »•» : ws*fw€. 5 r s 1 i £ +H Mt /tw4 eft rr r rfr r irr r rr f K'-~~

~~Fig* fro® The * «* 2ft 2&SZ Queen. fcjr Puroell.~~

Fnroell ie to eonaletent in hie avoidance of the oat- of«ttsne eeventh partial that the following seeita particularly striking* In the birthday od© to %*®@ja M&ry Celebrate fill a Peatlval (1693)» the eecood trumpet (in the key of C» mm* transposing) tee the eeventh partial written «s a&fer&X twelve tia®s» This ooeurs 1m the 5» ehere the first

^Paawell # T£» Fairy Queen, p» l|2. £°Puroell, Celebrate this Festival. p. 3&« 9© trumpet 1® la unleon with the first oboe, end the Meood trumpet with the oboe* It Is poeeible that Puroell decided later to doable the oboe pert* with trtuqpeta* orer- looklng the insecure seventh partial, ©Is that fc® dagwaiad mpoia th® oboe to help conceal the faulty intonation* • One of Paupeell*# aoet frequent usee of the trunpet ie In daet with voi«t (ueually alto), in tsuabera referring to the Bounding of the truwpet. Fig« 26 tbowt an excerpt from <1 a. duet# the Truwpet. la The Pake of aieaoeeter'e Birthday Me (1695).

~~hetlevaTto Tr^m,^jlL . 1~~

~~its >P*C> J JfflJ fUJ* *. - a -Sou nei ThC "T r*m- p€ft" - __ "frf. f'M + < MT0f"0 r * f *\P-f giigi cfr"^ -i~~

~~pj"—jb^ r ?§ # # &purtci~~

~~Fig. 26 • —Bxcerpt from ft*© PaJte of jJ Birthday 0d®« by Puroell.~~

~~-^Turcell, The Pule® of Qlouoeater• a Birthday Ode« p* 2%. SL~~

Tim seeond mmmmnt of fc&© overture to Bae Indian (1695) 1# entitled frtnget SXS£3SS3SSL» as might b© supposed, fete truaqpet has a ^©ry l£igK»rtant and interesting part# The title, Truaaoet Overture. might lead to the supposition that the overture is of the Military fanfare type* but, &» sheen by Fig» 27» the tnnepet part is eonjcusct* staying almost coaplately out of the third or •fanfare* oetave*

~~iw* Iflfy ' cJh&=S f irrnr i — —— f... f # Iht r tr If rp .r —*-J—| ZZ^LS, -4-—1 / ; ^~~

~~1 r r rrr=p=n '• r r r if fr f r ^f=F !L_J 1 1 MLI j 11 H-4—'—:J- 71 1 1 —i—LJca—LJBLL kmmm* f \ f *ff 1~~

~~fey Fnreell«~~

~~(*• F. Handel (1685-1759) *»s very eonsistant in his 53 treataent of the trusqpet Be showed strong preference for~~

*Pttreell» Hie Indian Queen* p* 10. £3por a ohronologleal organisation of Handel's works in which im ©jaployed the trumpet, gee App ©Mix 11» 92 the trumpet pitched in D, using the truxqpet In € in only three compositions. These ware the oratorios Saul sM Israel IS both written in 173&# using C trouspeta throughout, and fhe OeeftsloK&l Oratorio (171*6) in which he alternated between C and D truapet® in different movementa. Handel's regular practice «s to write for the truapet m non- transposing, jU ®, * to wit# in the ««a» taaaEwenle s#fl®a w the toy of tli© truopet. The only exeeptloa to this prate* tioe la in his first opera, IMfft (17<%) in whldh he treated tli® trumpet in X> a» a transposing ism trans At* writing th® part in ths himaoaie aeries of C# This la ths only- time that Handel referred to the truapet as olarino. In the opera Aggjpplaa Cl7®8 or 1709) Handel has the chorus sing a short two measure salute to Cls&dio, smrking It Coro with freaihe {Fig, 28) Although the toy signature la C, the harmony «ark« it as 0« fh# trespets mist have played in unison with the soprano voice part, aa none of the other parts wwtl<& fit the harmoni© series of the natural trus^et in D« f® Hmm and JttMI&t# (1713)# oel©hrating the peaee «f Utreoht, was the first composition in whieh Handel used English words. At the words ^ £gg Magnify guse^ln

~~Site. p. Handel, Agrlpplna, p. 23. ^^Bandel, Te Peuat and Jubilate> p* 31« 93~~

~~> Ml iff $ /«/ -#—# #—#- # l» u > ( —C5i» I "Troche, MV-ti-itA UflUQiO, £S-i/l - { ty v i/ u u i ^ £!/-/!-UA U-ftitDlO el?~iJ4 - SB t~~

~~9' 7 H f- C C~~

~~fig* 23««~3ftl»t* to CXjbkSIo, t&m A&lmAim* by StaaMU L~~

*&• It Bm *&• t*wp*U» by «Sy to gaattww* qpta ttm acetlon (fig. 29>. Thl# la » good MMqa* or K*od»l'a typlesl writing for tt» fewest, aim® (X) tit* Crap$« are to D» ttslng fell# 0 Mrles, <2> ttejr ar» act rhytkaiwOly Ami#- pendent* end (3) the top p«pt do#® net go above the fcblpteenth PATti*X, bw» 56 ^WbJLlflto, ftewlftl ©all# for the mtfmm dl *cce csa

~~fc*u»i»t M deeerlbed fey Fftntini Cm Appendix i¥# p. x62 fb® trumpet 1» Isdtafeiac thl« effect x*»rforue«l by the *Xto aolo (Wtgm JO}* ;» p* rtfTTrfTiTmr- "F## tf & A 2ZT §~~

~~M lULf~~

~~Pig* 29«—Opening nmmmm&m of the tras§i#fc parts Torjsz MSmmI ^oiTr mm. from Haul's 0tredxt~~

~~P- £ - •• tLurrr r > iyatt) J* £ 3CC rz: =?=£ "Qa ULr o 1 t* IToy~~

~~Pig* 30*—ftm zmsm ill voce ~&® applied to the trumpet, by Handel. 95~~

~~In his first oratorio Poborsh. <1733) Ha«dol Moved tho throe 0 tmapot* to unison with throe horns In D« Three ox* cerpt*3' frost the trtuqpet end horn part* mm shown In Fig# 31,~~

~~<*}f (fe),~~

~~•sdsz rmT.» Mr >r r c f LT 1 * Jft ?• J J. ii |y £ -eV d~~

~~f* 1 J. 1 is ©r 10 rmFPr?^' •>UJ 'UJL- y L/ r~~

~~Pig* 31*—»An excerpt Peboreh. Stowing the truapet and horn parts In unison.~~

~~57 Bsndel, Peboratu {•) p. 13, (b) p* 21, (e) p* 33« 96~~

As has Imm said previously, the oratorios Saul and Ifffiffl IS Sgypt. both written In 1738* were tlx© ©isly two compositions In whioh Handel used C trospets throughout. Also from this tins ®a» Handel never wrote a oowpositioa ffill requiring a single truapet, showing a preference for two, but sometimes writing tor to## trumpets, An e&oerpt from the trnnpet parts for feh® ©horns, a Thoa Hailstones*? of iazasl Is ims, *• «*»«» in Fig. 32.

~~TfiQH** X P rtoMQAJC~~

' ?ig» 32.—An exoerpt frt» Israel in B«on>t. showing parts for tranpets in C. ««*-*

~~54fM s does not r*a&» that the trouapets always played elaultanecusly* 5%aa*tel, IsSSSl M lost* P« 4-2. 9?~~

~~Messiah (171*1) has baacm* tha baat known of Handel1 a~~

~~•ntoriotf although as a tjjMi It la mni^pt®, belag oontajBpla~~~

~~tlva in nature rather than dranatle or aurttlT*. There la ttotMag umsual about the trtuspat parte, hmrnvw* M&n&el 1mm seor©a for Ms euatesaary tic® trassgiais in D, «tl gives~~

~~theia very little *fejrtl»£« liicj€*pi^«e@ one from another* As usual* they appear principally in tha ®h®wmm&* aa in the 60 HallalmJalt. (tau, an axoarpt of whloh la shown in Fig. 33,~~

~~ja.n An & •rgoHflflj.jrbr*Q, - »1 yfj~~

~~p-"aa , i .j^jr ? * £ L I E-Tfi. •~~

~~Fig. 33*--S*aerpt of tnap«l part for the Halleluiah chorus* from Handel*a The Messiah.~~

* ' * 4a might to© mipposad, fch© truiapat la prominent in tha 6l . bass aria J&g |g»,l JHiM &BB&* *» IM ttSS&S& F%- 3^ shows th© first n«a«?oc of the truagpat part in this aria. '

~~The lowest note that Handel wrote for trusipat (the sec-~~

~~ond partial) appears In tha oratorio Joataua (l?!j./)« It la &S£ however in a truopet flourish (Fig. 35) whose pr«aanea is~~

^Randal, The Measlah. p. ^Ibid.* p. 272. ^Randal, Joshua. p. 75* f8 for partly dramatic purpoeee* It oeeare |mat before Qthniel •lag* th» aria, gSBSTOI^ MM*

~~p0rr,f**o, m« /i«n »))e^0 %=r 3= J T J J. 3 ^ t ^~~

~~r cff ££f~~

~~XX- at IfClrfa frrffr ir~~

~~Fig. 3%»—first «®*u«ar@« of the truapet pert~~

~~The lodiQAtioa "ate.* iTidmtly amuse that it wee to be repeated an indefinite rauaber of time a. *here ere no other instroawntal or rooal parte involved at thia point.~~

~~•g"™; •)' rnn j t w.r.w.~~

~~Fig. 35«M&o|**at rtota written for truapet, by Handel.~~

~~Pig. 36, taken from the beginning of the aeoond act of Joehua* ia another example of the trunpet and horn parte aeored in uniaon. 99~~

~~Mm, WH * #tf #r #' f/gpfrtfa £ uib l \ »«=> #• /fip—i f ffotlSkafrtf &-. J i £MM6 ft . ,,, P~~

~~o= ^ * j rrr &~~

~~Fig. 3&* —trrapet and h©m parts at t!» beginning of the Mftond aet ©I* Jgghsa, by Handel.63~~

ML® la an Illustration of Handel*• nm of the txmapet ia axtvwaely draxaatio ®r military @e@n#a» He uaad tli@ fcrtua- ptt cooperatively little in hia InatruaMratal work®. He ««*•* f«r two D trumpets ia Ma m$®p malts. m& &m ttm j|. He wrote three tnzapet part a for the Firework JtadUu 1»tt speelfied "3 p#i» parte.*^

~~^Handel, Joahaa. p.~~

~~^8aia^lt Inatpmentia mala» p, 100. ©a^ea are net given for theae iaatnuaential worka in tfti* Haxulelgeeellaehaft edition, and according to Manfred Bukofaer, Umalo in tlie B»ro~~

~~- ~ - — ..•'*<• w-.--. ..y;, (tir»Ki»* «*le)~~

~~Kaj j" > ? S~~

~~ties~~

~~r*r ,~~

~~. ?*§*. ^ *•r"*^°!** truafwifc p*rfc tam th» first met Trath. by BaxklaX. mm*!* 2M ,ag& nc am «& mm* p* no. 101~~

Although the part 1# narked troBfaa solo* it is la conjunction with an alto nolo, sanetixaes in unison* Fig. 37 shows the troopet part of this partimlmr motion In Its entirety. 9hi« is an exaaple of the virtuosi* typo of trumpet part that has eo»e to bo thought of m representative of HandelU writing for that lastruttsnt, although thetelle o f Ms trumpet parts mm sasestaat loss florid, nevertheless, it shows what was denanOed of tho players of thoso parts, Presumably, they were eseeufcad with so®# degree of suaoess, although the us# of the trumpet as & virtuosi© instrument declined soon aftor 13m time of Bach and Handel. Although it is of course impossible to say that the art o* playing originated in Gersi&ijy, it to® bmm m closely associated with that country so m to- leave the gen** •**1 i»5>ression that it is a Oeraanic contribution. The best trumpet makers w®r& Qmmmm.» Cse© p. 33), and moat of the writers of treatises on the instrument were Oeraan (e. &m, Daniel 9peer, p. 50, J. A. Altenburg, p. 5W» and although the author of the first truapet aethod extant, Oirolaoo Pantini, was an Italian, his work was published in Germany, and mm very likely written there* The instrument is more generally referred to as the "Bach truapet" than as the baroque, or natural truapet, beoause of its use by the outstanding figure • of the period, «h» was, of course, a German. 102

iroinrich Sofcftts (1535-16725, aiaie director to Wm elec- tor of snny fwr tttty-rive fwins {1617-16T2}#66 had for him productive ymm tlmt npni &f tltm vw&Os/ •qpivslint to tt» fteaft tmlf of. tfa» W tflif wli^r wens* Uai&llk <>«« t«» titiamiMaE tt&t?}67 t»«b <*»>•• tli* tnaqpst was* mmAmaXj m»l 4a vfeiefe direction It «r« h««<&»a (Ft** (*}, (b)»

~~"flfpw f -f f^ gl gi 1 l f mt\ji r f J 1 , !>• r r i* l&z—3z:" i—^.. r1 *' ( | r_j_i—j—=L_*_ 1 ^ • ) 1 - # ^ —. * II * ' ' * r f J 1 » t~~ •• f f. g 1 ^'1 1~~

~~i^h^S»36e*WFWtee fey Saints in~~

*hs "ften* £**#• tbem Is {*.} of Fig» 58 1» r*p*at«4 ff|g %!»»# lBt#zi«ltt«gatly la ttao nr»t part of ttw ?«&!». Lstsr,^ twsMsi1* th# fiH dlipltys s aof# florid atjrlOf a® fhw» jn

~~xwsofwrr, MS&& M MM *>r». j>. 09. y7 i#i^i«& Mats, zsstea mm* ^ P. iaz. m$m.> p» 193* 103~~

(b) of Pig. 38, ftois paaaaga, playad fire times without braak, oontaina aavaral oonjunat isofcus asal suggests th® obbligato ol&rlno atyla of tho Bach and Handal ganaration. Sine® both the movement «M fcho trumpet part are in c, the

Imtmmmnt um®& was a 3 tvuapat p »©n«tramsposing* ScMts avoldad using th® seventh and the alowath partial*, to©th iinoortaia pitchae* Sehifcz mployid the trumpet to uaieh the sane mmf in * awfcrt? of tho sane period {©• 16X9) , £& erfaab alch ®1b 69 ftrelt jyg Eiwsml, Mm still used & non-transposing 0 tru»- pet, and avoided the seventh partial. Howe?*?, tie did use tho eleventh partial as f", although that partial ia ao»s- aharp, even on sustained tonea. Ha need the eleventh partial aa f#" one tiate. Sefcfits ia not so straightforward in his treataent of the fcroaijiet ia two latar works, however* In Ma well~kn©wii (l6&*># and In one or his Bmmim&m Sac- **»« BvtCQlnafe# in neosasnda tmb&» it appears on first mxMmX" nation that Sehats baa written for truspets in P, A abort axoorpt from the feraapefc part of fcbe aotet (Pig, 39> (a)» and two exoerpts fro* the Wolnaohtshistorlo (Fig* 39, (b)» Co)# show that the trumpet parts aw aeaigned the te&y signature of P* which i» alao the key of tb& amvmmmt* This ^aehflts, .Qesaaiaelt® Mottoten, Konsarta * Hadrlgml# mid Arien. p* 1. 11%

~~iMttsmtma that th# truapoto u«*d were non*&x*a#po8lng F knapikf, wploylae tho htrnmiio sMritt of F-~~

~~c^>.~~

~~Gff£/y$J3t f; rj tJU T~~

~~Clasr'r* I i FH HpC?af/i i% Cvcw;,,, r~~

~~i H~~

~~P,oh* cf-i £. J +~~

~~Fig* of Solsirt*1 a»thod of lifting G truants in m&vQWBtkta in ?«~~

~~Slnoo f#* Is not in tho h&raonie *orlo* of tho P truaa- pet, tho parts shown in tho oxraplo could not have boon 105~~

~~Ti played on F truapsts, unless twXvs-foot F truapsts nft~~

~~In «xitt«nee, sad thsr® is fownd no evidence thst meh. la-~~

•truaonta sore svor n««4* Eowmi mil of ths pitches 1st * th® above satsesplss are available la ths C h«pa®filo series*

It lias fessn shown above thst Ssfc&ts uasd the slsvsnth partial In ths C ssriss ss sithsr f" or f#"f both »f shish art scored in Fig* 39* Sohflts svidsntly vrots hsrs for ths C triapst its a non«trsnsposi»g instrmsnt, tout giving fch© part ths smm kef eiga&tmre &s ths atovsissent*

~~Johann Sohslls (1%8~1?01), Cantor at Tbs Tirana* Church la Leipzig from. 1677 tmtll his doath, scored for Clarlno I,~~

~~XX* XXX» maA W, la bis oantata fcatbo dsn Hsrrn. aulas aosls.^1~~

It ims unusual st this tiaw to seors for that aany trusapsts, and bops umsual to designst® any tout ths t©p on# or two ss olarlno. Forthsraoro* Ssholls plaoss his troopst psrts in ths »Mdl® of th® ssor®, rsthsr than in thslr customary position st ths top of the p«g®.

Fig* 2(0 shows ths closing measures of fche osatata# Thm truest psrts ar® non-transposing, sine© ths key of the ®©v©~ atnfc is 0* siidl ths tmapst psrts ars written in ths immmmlm ssriss of thst l»y. TO Even six-foot F txtuapsts wsre rarely used in th® b&~ rwgiw. For Isolated examples sss the discussions of Bssh*s

~~T^Johann Sehslle, Lob© dsn Hsrrn, *aeln» Sesls, p. 122. Ths editor, Arnold Schsring, ascribes no dsto to this esntsta. 106~~

~~m i #***»« x •• tr~~

~~&l*rvH# 'nr +3Z~~

~~fig* M>**m»C1**183 smmuww* of tbm tmqp*t piti to SA»U»#fs MQftttft* Lrtwi i#s Btewra* itlM~~

In tbt «•*&*%* tmt hirmml k&m mm Mfuml mimtlrn mAtmm fm Clmrin® 1 aat 11# TlMmgb t» 4##a aot au*y tte first mlmm b*# th® ftft«atk pmrtlml in t£t» 0 fun** mw&h mmrlmm, tm tmmtm twth #f tte timp«fc* la ton jmp%A pl«plag» m tout Ms l»##g« s#««§#£siiwt idth %hm clarino. Fig# 1§1 i» an «xe**pt ffcorn tbta eftntatft*

~~Fig« from fmm Mmmltorn ju g jftuaal •char, %~~

~~•# j>* 167* #«*%#%» lltewl** !• set 107~~

73 A list of Sohelle1 s ehoreh pleeea la whleh the trumpet is employed reTeala that he consistently referred to the troapet as elarlno except in two instances (8oa* 122 sM 153b Ho, 3, "Alao hat Gott die Halt,* 2 elarinl Ho. 5ot *Khre Ml Oott In der H&be* (1683), 2 elarinl 80. 71« 11 Oott Mfo« diaa vertraate JPaar," 3 elarinl Ho* 72, "Oott sal «ii* jgisidlg," olarlno So. 09, "leh lals®#, und ihr aollt aueh, 2 elarinl Bo* 95, "In dieh hmh leh gehoffet,* 2 elarinl 1021 *L©tee den Barren sain Seels," % elarinl "• »*aahet die Thore Wait." 2 elarinl "Boa daaket All* Oott," 2 elarinl "Sehaffe la air Oott,* elarino eon soMIno *8i«h», ea bat Hlwrrandto/ trMdw "Bna 1st eln Kind geboren,* 2 elarinl "Von Hlawel low der Sagal aehar„w 2 olarini "Wohl darn, A&T dea Heeren fturchtet," 2 elarinl» 3 tro»fce J©has® Kuhnau (1660-1722) *a« Bach* a iwiadlate pi»ed©e©s« •or as Cantor of The Thoaaa Church In belpeig <1701-1722)• The llat^below of Ma works employing truapeta allows that Ktahnati used a variety of terma to dealgnata the troapet,

£• &•» Stete* SES8S8I» Wg.^> prlnelsaXat A* Latin Church Pleeea (8) Ho* 5» "Magnificat,* 3 olarini *£ B. Latin Pleaea and Odea for Aeadaade Festivals (11) C. Deutsche Charo h Pleeea and Xoteta CiljJ Ho. J, "Aeh Berr, wl# alnd nelnen Felnden ao Tltl," 2 troobe *o* 7# *Daran erkazmen «rir, daaa wir in Urn verblel- ben,* 2 olarlnl So# 13# *Ye Dan* aa drel Choran mit Troapaten und fmzk®nn {1717} *7o Ho* 21, "Be atah Oett euf," (1703), 2 elarinl

~~73 ''"Attageaahlte Kirehenkantaten," Dan*oaalei» Detttaeher Tonkanat. Vol* LVIII and LIX. p. XXXVI. ' P* XL?* 7%©n® of theee employ truapeta. ?^pha number of truapeta la not given. 103~~

U#-* 26* "Oott #©ii 7afcert Jesus Chris true, dor hatlm Qelat wohn tws bey," obboe ©v. Trooba da tlrarsl'« No. i$lL "kobefc, ihr Hliwl, den Harm,* 2 clarinl So. 4.9, "Hlaht dur alleln aat frofaan Bergen" (1718) f 2 olarlnl Kfo« 66, "Siogot dam Herns eln nauee M#d*w wa troabe* So* 78# *Wenn ihr f roll eta seld an atmm .P©#t«t*w (1716) 2 elarlnl, 1 1 prlnolpale Fig. 1*2 Is an excerpt fron a aoaata ^ la 80. 73 above.

~~ClarmoX 7 oa oa~~

~~Cfam&g *7~~

~~"[VflJictU~~

~~r l Lu jt~~

~~gen~~

~~Fig# of four-part eaao»t£e writing by Sohelle~~

~~Instrument is not a clarlne tapl» being designed to perform a different type or part. 109~~

It is an exaufljplo of canonic writing iwtwtea tjtuapob part#, which ia a rarity, aapeci&lly in c&aos involving aon* th&a two trumpats. Johann Joaaf Fux (l660-l?iil) not display any particular fondnaas for truants in hi# Cojacertfrtta £tiaie-p~ Inatruiaantalia (1701), airtca ha uaea tham in only tha first ooapoaitien of tha group, 79 (Saa Fig, 1*3).

~~m—=-«— F=——pfr—» — ^=; * f ^1 » 1 1 i . up 1 .1 1 \ b~ " L 1 Fig. If3*--S3cc#rpt from Concaatua Efaaico- Inatimairotali a« by Fax,~~

~~^"Auagawlhlta Klrohankantatan,n Desateiiley Dautechar Toateanat. Vol#* L?IIX~LIX, p. atjJj.* ?9johAxm J. Fox, Oonceiiiua fc!ugieo-»lnat3ma@nfcalis. p« 7. 110~~

H© designates them at Clarino 1 and Olarlae II, but does not; us# both truapets in all movements, requiring only one trumpet In theflijaae an d none In the Menaet* In the one place where he does bring the truopet to the fere* however, he assigns to it a very attractive part, going from adagio to allegro within the woveaent. He naasd the part eorreetly, elarino. sines it is for the aost part in the fourth oetave (8th-l6th partial), where the elarino parts aainly lie* the style is florid, as ean be seen from Fig. 10. In his opera Costansa # Fortes**. written in 1723 for for the coronation in Prague of theffiaperor Charle s VI of Austria as King of Bohemia, Putac allowed himself a sore «»> pensive instrumentation. The lnstruaiant&l body is divided into tiro *ohoirs,* Coro £ Cow II.ffi© basis of division apparently is the two brass sections, with the strings and other winds playing with either or both. The instruaen* tation is designated as follows* Coro I-----Clarino I, Clarino II, Tro*be (2), Tiwpani Coro II~~~Clarino 1, Clarino II, Troabe (2) , Timpani Coro I e Il-Violini I, Flauti I, Oboi I, Violini II, Flauti II, Oboi II, Viole, Violonoelli, Violoni, Fagotti, Tlorbe, Areiliati Ceabale In the overture the brass ehoirs are in strict Imitation 81 with one another* In Act I, Fux Merely designates *Clar- ini I and II,w writing the parts on the same staff. There is 00 fli Fax, Costansa <# Portesaa. p. 5# Ibid*, p. 12. Ill no way to tell whether the Olarlnl of both Corl mm to play. 82 L&k®r Its the s«ia® act tii® designation 1® Troaba. a term which, a® previously a*tttlea»&# i« usually applied t# parts in the lower oetare, tout the part ascends to d* * •, the eighteenth partial, and is extreaely florid. This la an • indication that the tersas elarlno and trwb» «**• a© longer •trietly u*«d to differentiate between the style and range of the parts* ffi® subsequent instrumental parta aialee no reference to "Coro I" and "Coro II" until the last scene of the opera6"* share eaeh of tha four parta* Sl&rlJi# jC# Clarloo II* Tronba I, freaba II, ia isarked "Cer© 1 and II," indieating that aaah part la to be played by tha instruments of teeth g#r© £ and M* Belnhard Kaiser (l67ij-1739) stakes what eeeos to be a mlfte designation for the truoapet In hi & opera if" Pedals (1714) • In this work he seorea parta for an unspeel~ 8k fled nuaaber of eemettl da caeola. ^ ®tse eornetto. a wooden tubular instrument with finger holes (®a« p» J8)» was built in several alses, feat the ftoraa# # and the Clarino III in mason with the Violin JL, and Violin II. ^"Das schallende Waldhorn enmratert die Brust, und locket vein Hers warn Jagen und Strelten. * ®^Keiser, Croesus. p* 1. ^Ibid., p. 75 • 1X3

Oboe X, and Oboe II, and Viola, reapootively, writing all of fell# first parts as one, etc* Because of this, the troszpet players, while still playing D truwpetB, the harmonic aerie* of D, the Jasy of tt» MMt awl of their instrument. Oaorg Philip Teleaann (1681-1767), in his Tafoiwaalk (1733)* produced a nasterpieoe of restrained writing for trumpet. The eolleotion is in three divisions, for which he uses the Freaeh tern E>rodiietio»» Xmh profeeMon consists of five compositions. Only the first composition in the ie«- *s§ oat production (Suite fSr Oboe, froapot«» ug§ Streleher) ©alls fer trmapet. It is scored for one trumpet in 0, ploying the hawaanic aeriea of D ^ Telemann atill *anagea to avoid the aeventh partial, but the nature of the coopoaltlon permita Mm to take the first tnunpet part aa higx aa d'*«, the sixteenth partial* Aa in the sonata already mentioned, ®®Georg P» Teleaenn, Tafalauslk, p» ^Teleaaann, Reassert £|r 1 Trccapeten, Fauken. £ Oboen, Streloher, und Geherslbaag*. p. 3. 111}.

~~ttw trumpet I# pitched in J), and again Is treated as a non~ tr&nspoBlng inetraftamfc. In hl» &»ty"3»ntalkong»*fc in P,^° (see Pig. Ijij.) -«#S% Ptesio Concerto pktlUp~~

~~I, wccta IT~~

~~Cc**tel© ' l?t,c. r r~~

~~Pig* ~-IDicc*rpt of trumpet and eeob&Xo part* ftpsa Tale&umn's Konssert in j?«~~

~~90,Talowann , &ora»rt in F, p. 103, 115~~

Teloutann dosignatas the truiapata in tha various oovaxaonts as follows: Presto-~-Trou»ba di Caocia 1 Troaba di Caeeia IX 0orsleana~»8o truaipat parta All©gr®K'ZR—froaba 41 Caceia I Trosaba dl Caoola IX S«fe#ra«—ffwl®. X Trooba II ?olaeea-~?r9a&a X di Caeeia, • tromba ordinaria piooola Trm$m IX di Caeeia, @ tronba ordinaria pieaola Minna to—clef (G clef, on tha bottom line) as ia shown in Fig# i§%# Example (a) in Fig. Ijfy. shows the trumpet and eenbalo parts as they app«ar at tha beginning of tha seore. It ean ba seen that tha trumpet called for Is to be pitched in P and employ tha haroonlo sarias of F, functioning as a non- transposing instrument, as before. Kxawple (b) shows tha use of tha eleventh partial of tha F sarias, b flat", usad as althar flat or natural. Tha phraae "l^rooba X dl Caeola, a tronba ordinarla ploeola" aaaas to indicate that here Teleitann calls for tha six-foot F trumpet, which was a aaall truapet for that tins, 1X6 since Uie inatruiaeuts most eoasKumly employed were the eight- foot 0 trusspet, and the seven-foot D trumpet* This is probably the Basis instrument employed by Keiser in t^lnganno Fedele (see p. Ill), and Bach in the Second Bpjjadhwdxurg Con» eert® {see p. 128 ), The tremendous aaount of interest displayed in the works of Joharm Sebastian Bach (l685~1750) within the past haMred years, and the subsequent uncovering of imch of his wauiic, have resulted in the frequent application of a misleading designation, the *8ach trunpet," for the trumpet of the be- arable period, Th© natural trunpet for whioh Bach wrote was essentially the aan» instrument that had been in existence for sosse eighty-five years before his birth and that, sos» hundred y@am after hi® death, was still grisly fighting for survival against the onslaught of the valve-trcnspet • As will later be shown, the controversial trowba da tlrarsl which executed wmy of Ms chorale melodies was a Modifica- tion of the natural truwpet, and was also usad by his imme- diate predecessor at The Thoaas Church, Johann Kkhnau (l66o- 91 1722)• Bach' a trumpet parts ar® important because they are an

~~i integral part of the tremendous output of the conposer who is now recognised as the giant of his period* Moreover, they show what the instruraent and the perfonasrs of his time~~

9*See the list on p. 107. 1X7 wire capable of doing. Bach wrote hi® maie for performance, often knowing preeiaeXy when It would b« ptrftmd, and even fey whom.' Bach's daaignation of truapet parta has been the aubjeot of auoh oontroveray. A aurvey of Appendix XII# whiah ahow» tha worke In which Bach eiapXoyed tha trunpet, rereaXa that ha apeeified trumpet parta for cXarino. principals.feyeafagu an d troaba da tirarai. The chronological aa^angement depict® a war® ayatanatic us® of the truaqpet by Bmh than might b® sus- pected froa an examination of hia worka in tha order aa pub- Xiahad by tha BaohgeaelXaohaft , or of aooawtiat aiailar tables 03 by Tarry#' Although Bach oftan wrifcea in tha prinoioale regiater

(a* jg*f Pig. X7» X9)» he uaaa tha term onXy onoe, and that ia in tha aingXe exiating eantata from hia Arnatadt period, B2BB & 2&0& la Jig SM& HSiM X5, X70^).^ WhiXa this aingXe uaa of tha tara ia evidenoe that tha practice of differentiat ing the range ©f truajpet parta by tha term* clarlne and principal® w&a faXXing into diauae, it ia interacting to note that thia prlncipaXe part ataya

^23ee CharXaa a. Tarry, Each*a Orchestra. pp. 6, and Xlj. for Xiata of theae parforaara. 93Terry, ibid.. TabXaa I, II, III, pp. X8?~193. q}i S« Bach, Pun dto wiriitracing SeeX e nicht in dar H5XXa X&ggSB# P» X3>. 118 within tha rang© praaoribad for It {mm Fig* 1©)* going no higher than en. The nost eeaplex writing in 'this composition i« shown in Fig*

~~rrm?~~

~~Fig* l^'—S^oerpt from Cantata Jfo. 15~~

Bach specified parts for clarino in bat three cantatas. The first of these is the Arnstadt cantata Just discussed. The s«©#M oogarrene# of the term is in an early Leipzig 119 eantat&, Mb GmAthB (No. 1723) ^ Just one trcunpet ia eaployed. The third, and last appearanceaof the term ia la fch® cantata Xhr Menaohen* rfthawt Gottes Liebe (Ho- 167. 1725).96 al.o from th. .arly L«li»lg period. Bverywhere alaa Baeh aisply uaaa the tern tfomba. axoept on tha ooeaaiona whan ha apeeifiea tro/aba da tlraral* Tha uaa of oonjunfct no tea in tha third ©otare CI* a.» not In tha ha*BK.nl© series; aaa Pig. ^6), in the laat of theae cantataa suggests that son® apaei&l sort of truapet nst have bean used.

~~w Cl&rinct I i ? J lo1 J l . 1 ...i..I^ 00m^r- "g- ^ ^ ^ J J ^ o>~~

Fig* k6.~»Troafcba da tlraral part In the ehorale of Cantata 1&7»*

~~Baeh does not apeelally daalgnata such an instruiaent in hla early aoores, hot tha fcroatoft~~

~~Muoh discussion has been raised toy Baoh<* use of the ter» feroM d& tlrarai*^ the word tlrarsl~~

v^®Ba«h, 0 Rwjglcalt. du Ponnerwort« p« 293• "&*oh, D& »Mil gfM» J&lfiSS S6EE2B* Ml&S# P- ^35* XOOBach, max sol loh fliehen hln, p. 127. *°*Baoh, Sefaaaet dooh land aehet, ffb irgend eln Jj ££l* P* 189* 121 fourteen other cantatas, These way fee found in Appendix III «fe#r© the woMa £& tirarsl have been added in bracleets after the designation for the trusapet given by Baciu Morite Hattptatami believes that this Instrument mi a t(5j» distant trombone* Terry however believe® that tror^ba d& tirarsl is en Italian translation for the Zai 103 and shows an illustration of the instruaent (see Plate V). Terry relates experiments by Galpln that show that the pitch of the ZmgtsNMgst# is lowered by a MMdtesaft when the slide is extended by 5 inehes, by a whole tone at 10§ Inehes, and by threw® semitones at 17 te the basis of Salpin** computations the possibilities of the Zagt in C can be observed in the following chart (Fig# ltf>. The nmaeral wo® indicated the slide in its shortest or unextended position, the nusieral "1* Indicates the slide pulled $ inehes

~~Plat© V•—Zugtrowpefc® 123 n/e a*j fkzHal sj^ fa. r'tTai} Tii• I.W "fta tia o P o~~

~~o» bo~~

~~°.#o r^oi poM bo |~~

~~Fig, ^.7.-««»C3tMfcrt showing poaitions of the~~

Sash# mamm with Tarryj Did Baeh moan thia slido»tranpot or tho ob irgend ein 8oha»ra aoi* Tho notation of tho part concerned in tfao second ttrtlea «f tb» work depart* in two points fro® th» prae- tioe otherwise obaervod. Piret, tho part 1® not written m olaewhero in thofeey o f the pieoo, but in 0, aa fop to® ordinary trumpet* and aaoondt "trmlHi o eomo da tlrarai is written bifp the part instead of tronba or trooba da tlrarei.*0^

3^5 ' '' '" 1 "1 11 Hat aw Bach dies® Ziagtroamete odor cli® DiskantBo- &£• Antwort dor Partitur dor k6# Itetat© *Soha»et dooh und ••hot, ob irgend ain Sohners aoi' gegeben nx warden* Die Hotierong dor betreffeaden Stiamo 1m miton Toll do® fortes weleht in svelftmfeton vo n dor aonat boobaehteten Praxis ab. Brstens nlalieh 1st dio Par- tie nloht wle ton*t in dor Tonart doc Stdokes goochriobon . aondorn in c sio fftr dio gowfthnliehe Troapete, und sweiten* 1st statt Traaba odor Trostea da tiraral •Tromba o Corno da tirarai' voreoaohrioben," Curt Sachs. 3ach*« Troaba da MSttti# aach-lahrbueh. 1908, p. Uj2. a*»s» ^ 15%

Sacha miasod one important bit of evidence In the ®mm ,, xo6 work that he mentioned, Cantata So, kb, that coneluaively prows that the troraba da tlraral was a type of trumpet, and not a high trombone* The evidence eoneerna the «tyl® of the part, which unlike the uaoal tlraral part (a*e Fig. 49)$ ia vary auch in the idiom of the trumpet (see Fig.- I|0)*

~~S C#orte~ ) z. * *- in~~

~~Si ggH~~

~~Fig# SxMHppt fro» troafca. da fcliwl part in fflllM *£•~~

~~The part -i# florid and utilize a consecutive notea in the upper regiater, and whan it dropa down to the third octave# it assumes the fanfare style of th» natural trumpet.~~

~~In the 110 laeaetarea of this isoveaont (Mo* 3# Aria) of the cantata, there are only two no tea written that are net~~

106 Baeh, Sehauet iln Soiaaers jjL« p* 228* 'tilfhii s the par- fLala of the C harsumle aeriea (aee p» 57) »2 325 available In the C harmonic aeries, the f * and a# narked In Fig* l|8 with asterisks. The performer has a two raeasure re at In which to get hi® instrument out to the second position for the f *, and then plays the positions 2, 1> 0 for the pitehea

r f i a', e*# sounded on the partials 6* 7» 3. Bach scored part# for raore than ©at troab® da tlrarsl only onee. 5his is In the ehorale finale of the cantata .Q#tt fihrefe anf alt Jauohsen {Mo. 1*3, 1735) •107

* i ^ r r f f - O O i o o o t

~~4 "ftoHBPl jl^ gfjJ J J ~y j J a ^ Z 'o 7 t o a o o 5 5^~~

~~0 t~~

~~zi— a. / a.~~

~~Fig# k9»~~Tramb» da tlraral parts In the cho»l® finale of Cantata No* lyL~~

~~The Tra«be J. and XJ, «r# In xmiwan with the -fflboi JC and 11. Violino £ and the soprano part. The Tromba ill is in unison~~

wB«h» SsIS ffeil sal alt p» 3^26# 126 with tha Wl&llxm II and tha alto voiea part. Fig* show tha trtua^at parts at tha opening of this choral* witting, Th© positions raqpired ar@ plaead undaroaath tha notaa.10® Many of tho note* could ba played in anothap poaition, of eouraa, but it ia logical that poaitiona requiring tha laaat w&f-mmmt wava uaad. fha aavaath partial in tha maox- tandad position waa probably avoldad dae to ita faulty intonation. In tha aarly part of hia oara#* (1?<%*17i!16) , Bach «t~ ployod otily tha ts*ap«t is 0 *h®» writing fwfcfat xMttaura X iiutraaant. Hia use of thraa trumpet• in tha Arnatadt can- t*t« am & flat -la ias Sfife .Mtffi {t®« 15, l?Ol|.) haa baan diaouasad, and oalla f«r tha sana xna&av in th« mm oantata of the KBhlhauaan p®s*i&4 Oott iat asters (»«>• n, 1708).109 Baeh ssovad to Him? in 170&, bat it waa not until 1734# whan 1m «u appointad Conaertoaiatar that Ms pfiHfitioa r®~ * ItQ quired hi* to octapoaa* Appendix III indioataa that ha pr#d*i««wt tw© eantataa that amploy ttoa® trumpet* during Ma Wainar tenure, bat thia information ia rather »ialeading. 108 Ih> parta ha*a baan raaat in tha 0 olaf ao that thay »§y ba a»ra aaaily efi>$ar«ii with tha ohart of tha poaitiona of tha murtyaaroatea (Fig. %?)* 10^Baoh,flpftfr li t MBM* P' 3< •^^ferry, Blush* a Orohaatra. p« 3* m

The «f»g®n st Utelsar wis «Ltaft£aA Is a mail la Urn iwafi th# itailf mm m tmxrom, ttaft * l«*g® imtmmmAmtlmi mm l»p«wsibl*« tb* flysfc of timam f|f cantons, **»» wi»l laigfliaiiaiamlij (9b* 1735)* performed tt Bill*. I'll# *mmbA was Pag flfa—ft I&ehfc, die i fobillyt (3o« 31* 1715) » *liiit>-»» wrtwd in • "Sim tirmt mmlm m» probably d#«lgr»4i *n» twnp^ig slue# is th> xrnrimd wmmlmi its© Vtamm tNp*t« mm is m&mm* tfcw ehMti« flaa&» of thi# mMmtm m mtmmmly isst«r»*tlng peri fm * «2&gl» w&toh plag* th» sj#1»% in t.he uj>p*r llttlt*, arar going fe*la* tb» fomrlti oafe**** Qg» pitch is

«•»*# tb# feMntlath p«rtl«l, iWA awti 111 only ona *ftfaa» tha «f XlSQk axt in tto» piarfc i* avt n.ert.4, n® «um*Xt Ml •noefch «n& *st*talfi*d* Yfe* f*wt 1* ropvoduaad In it* Mliwlf In Fig. $&• Paring bl» pavidd of aarvle* (1717-1723) a® Gajfellaalatap *t tha Coax* tfi Cdfchen, Badh proctoead ealy itonr «oaipeeitl.ott* lib utilising *fh*aa #f tfeaca* tfe» tw ^i?ia»toaij la l>»

~~mBa*h, M1M $Mk IlfeMMi V* ll2 ia.©lit jttbwa. lacht» 41# trta JaMllati* p* 3#~~

**%w«7# aMfttfa (frgfaiiMteMb P* 3» **kaaoh, oyflfeagtagaagfea» pp. 1{0, 66# 128

H5 andfeh» Sinfonl a In D, inquire the usual three tru&pets* Hhil® there is nothing unusual in tha truapet parts in these three works, they do iaark the beginning of Bach's prgfaresic* for the instrument pitched in l> whan writing for natural truuapet.

~~&hora.2 rembcu C£j £* ^P—~~

Fig* 5&.-*~yrtUDpet part for the chorale finale of Cantata. Ko« 31*

Tha truapet part of the Brandenburg Concerto So, 2 is perhaps the bast known and xaost discussed example of Bach(s writing for that instrument, It is certainly an excellent vehicle for displaying tha chamber capabilities of an instrument usually associated with Mtsie of more ijmmm® propor- tions, and with outdoor feative occasions. While its aelodic

115Bach , ilnfoaie-satg in J> dur« p» 65« 129 patterns are typical of the high truuapet parts {see Fig* 51)» til® fact that here Bach also uses the instrument to support the other solo instruments in their solos is not. Another peculiarity of this work is that the troupet is the six~foot fetmapet in F and this is the only ti»e that Baoh mmm& for that Again, although S*«b mssmlly wot# for three trumpets in this period, there is only one trm^pet part in this work. The concerto is written for a eonoertino consisting of trumpet, flute, oboe, and violin, accompanied by Violins I and 12, viola, and contlnuo#

~~Fig. 51«~Mr»t measures of the truapet part for Brandenburg Concerto So» • 150~~

Fig, 51 shows the opening iseasures la the first Movement of this xaoBBza»ntal cobalt Ion.1x6 Those few jaeasures are fairly typical of the entire work. Fig* 52, on the contrary, is somewhat spsciftl in its dtmnnd for soft produotion of high and rapid notes.

~~Cf'tfoJ~~

~~Jo rh>~~

~~Fig* 52 •—-Example of high, rapid notes to he played softly (Brandenburg Con—rto Ho. 2 J,~~

Figure SJ (a) shows the extremely high register that Baoli utilised at several plaoes in the eoaposition* At first gl«t©e# it is not very iopreaslve, slnee it goes no higher th*a th* •lghteenth partial, which Bach frequently called for; bufc Ktt«t reraeabered that the truant is here performing ft® a transpos ing Instrument • The actual sounds are shown in

~~Fig. S3 m. This ©xfereaely high rang# ha® caused a asm doubt that the part was Intended for a trumpet sounding a fourth higher than 116 lonzert So. 2 .£» £ dur» p. 33, 131~~

~~written. Fig* 53 showa the transposition of the F truapst, {a) m it is written and (b) as it sounds.~~

~~ust-tftcn~~

~~(b) rounds~~

~~Fi«. 53.« "®*«9>1* avowing transposition of tha p trumpst,~~

Hofffeann, on tha basis that the longsr ths tubs CjU s#, tfa* lovsr ths fundaasntal pitch of ths inatruasnt) ths sasisr it is to obtain the highs* partial#, oonoludss*

i?1-?*? lcT*?i1;Ss#d truants such as /£hoa« \jff 0, C, B, • B flat and A, th# to.se® of **» higher rang® Ire i»sl«r to play, and cm ths highsr pitched troapsts suoh a® ^£7 2 flat# B# F» and 0, ths tons* of ths lows®* range are sasisr to play* Therefore /¥h# posaibilltT7 is not excludsd that ths solo part in ths aforssaid « not intended at all for otir still extant lim/ f 5r^>?t (sounding a fourth bigfe#*) but for th@ truaipst sounding a fifth lower[»*** ?

117 -• o 1ttvl A Tr«5»stsnstij»ffl«ingsn alst D# 0, H, *« 5 h2h*r*^ *ujp *®n *»»•*•« Stiasaun- ??" * ?!, J?f* K* F» *®J G dl« tisfsrs Lags dss tonisohsn tJ*- pi,1#n i>ah p rfa2Fffe? f * t ? *•* nlaht ausgesehlosssn, ? i An pwww»t«n Konssrtflbsrhanpt nioh t fttr L2SeLlrS?iai2f*B®«Ml,€^@t# <•!**• Opart® hShsr klingend), sondsm Mr 41# sin® (faints tiefsr, ki f 132

Since Bach wrote in the C series, treating the truant as a transposing instrument > it is not possible to determine w(hether the instruxaent is sounding a fourth higher, or a fifth lower. But Telesman (see p. 111*.) treated Ms trunlet as «. rxm-tranaposing instrument, rotating it in the key of the piece (F, the seme key as Bach's concerto) therefore the actual pitches »re written on the pert* The highest pitch for the truapet in Teleaann's concerto la precisely the aane m that in Baohfs, g*1 *. A® there teeaui to he no reason why Teleaann ehould write hie part an octave higher than it would 1X0 sound, it is reasonable to suppose that Bach's instrument was sounding in the sane register, which would wean that the high P trumpet was used. In I»eipaig, Bach retained his preference for the C trumpet in the first four cantatas in which. he used natural truapets, all of them written in 1723- Two l^a of these. Christen,fttaet 43,#fte* i tmm (So* 63), " and Prelae* Jerusalem, den Barm. (8o» 119) " ' are scored for fcwr trumpets* Fig« ^ ig an excerpt frora the latter cantata« The fourth trumpet part stays to a true principal® range in both compositions, a®w going above c*« F-Trowpete bestiawt geweaen ist*w Richard Bofaena, "Die F-Tronpete i* 2. Brandenburgischen Konxert von Joh* Seb* Bach? Bach-Jahrbueh, 191&* P* 5* ^®TeXexaann even used the French violin clef to avoid ledger lines* *"^Bach, Christen. Mtaet die sen fan* p. S3* l^OBaeh, Praise. Jerusalem. den Harm, p. 195»» 133

~~Iromb& JjL~~

„ **§• 5k*~**a*rpi from th» four trumpet pm*t» tor »£• 11<3. 4 In ***> «MSgUi«ft» written th<» mm y«*r (1733),121 Bach a»4® his first um ©f the D trunp*t, th» ln*trua»nt fop which 121 Baeh* Magnificat In D

~~Tromba. JL f r f if rr f r i f~~

~~7rorntm, \il— f-~~

~~&^B&oh* geag© H moll. p* 1|.7« ^^Bukofser, gaale In tha Barogne Bra. p. 295* 135~~

~~tstr«~~

~~P' i ff, f 1" _ f i * + m. e^IJ vlL~~

~~gg T-iJ rar i-fff-y-7 7 P * jlj 1 y If T~~

~~Fig. 55«-^*rofflSP«t parts froa the introduction to th® Gloria of th* B~fflinor Maa»» 136~~

In tbm cantata Brtoalt1 um* garr» bajL delnem Wort (Ko« 126, Bach daaumatrataa his ingenuity la olr- caravanfcing tha difficulties Involved la writing for tha truapet in minor. The raovajaant is in a minor, with tha truapet part axaploylng tha 0 sorloa. Fig# $6 ahowa tha «*• -, i

~~...7 §~~

~~ff fUiOLtrtOK; z%L '• Uf CIT CtfJ UJ i~~

~~IFT*! y/^ /M?; j./J Jlji UtQtnft . '•• Ai m c £~~

~~rifjt.N,, n 9' p .€ ' • , - b 'J » 6 -- s5- -#r , Fig# 5&*~RxaMpla allowing Baah*a uaa of tha trumpet in a minor ieay#~~

X2**Baeh, Brhalt* una. Harr« bai 13? to examination of thm harmony will show that the truKtpet «it be sounding a whole tone higher than written, Which la the characteristic of the P trumpet. Baoh zasrely follows his habit of using the C series, and uses the D truapet to obtain the C natural {seventh partial) and 0 sharp (eleventh MS* partial) so necessary in a itinor. Bach apparently gave the truiapet part a key signature (one flat) to indicate that the seventh partial would always be used as B flat, fund not as B j»fcor®2# BaehTs secular cantatas are models of consistency as far aa the usage of truapets is concerned. All seven of the» retire three natural truapets in D. Th# only irregularity is in the seventh aoveaant, a rltornello, of Die Verelnlfft* Zwietracht (1726), whieh ©alls for but two truspets« ^^Phese partials are, however, out of tune with equal temperament* OHAPfgR IV

~~nommn OF mnocm mvmm FACTS~~

The modern conductor who wishes to perform baroque compositions has three choices with regard to the perplexing problem ©f the truspet parte. The first is to transcribe theia for another type of instrument entirely, suoh as the high woodwinds* The second is to select those compositions whose trumpet parts, when transposed, lie within the range of the modern short B flat trunpet. The third solution is to use the modem imUmmmts, with valves, which are exactly half the length of their baroque predecessors, e. the atodern J> truapet, which is three and one-half feet long, as contrasted with the seven foot length of its earlier counter* part.

The objections to the above three solutions will be considered before offering a fourth solution* The first method, that of transcribing the parts for an entirely different type of instruaeat is In reality an evasion of the problem, as it reproduces nothing of the original except pitch* The second solution, that of performing those works that lie, when transposed, within the range of the modem 138 139

3 flat trumpet # Is perhax>a the aost widely used. Ms method eliminates those tonee which lie extremely high or extremely low, which involves rearranging soiae of the j»loii© lines* The third method, the use of modern valved instnuflenta half the length of their predecessors, eliminates any extremely low pitches,3* and introduces a tonal coloring foreign, to that of the baroque composers* Besaaraboff describes this objection thusi The quality of tone of the sopranino trumpets in high D and P is not the real olarlno tone of the long low pitched, four-octave instruments* The short tubes lack overtones and the proper tiatbre) their sounds are shrill, owing to the paradox that the high partial tones on Mgh-pitehed brass instruments are very difficult * The eighth partial tone on the sopranino trumpet in F /?* *jj/ is almost impossible, so the high-pltehed brass instruments begin to approaoh in their tonal qualities the two-ootave instruments, which, as stated already, are not distinguished for beauty of tone# . • * The general ooneluslon is that the use of Mfh sopranino trumpets for the Bach and Handel high trumpet parts is histori- cally, aeoustleally, and artistloally an ineorreet solution*' Bessaraboff then offers this solution! Zt seems that a correot solution is a return to old type classleal trumpets with their long tubes and sag- nifleent tone color, and the cultivation of elarino- playing technique, In BaohU and Handel*s tin* this historical technique was still practised. At the end of the nineteenth eentury it was successfully recovered by Julius Kosleek and Walter Morrow*3

*The short 0 tmuapet, for example, using valves, can go no lower than g#, 1. e«, a half tone below the third partial of the seven-foot TuaTrtuaent« p Bessaraboff, Ancient European Musical Instruments. p. 193* ^Ibld.. p. 1%., Kosleek and Morrow working separately, lip

Vteroer Menke, to %93k-» constructed for hint low F and D trumpets with two valvea, with specifications approxi- mating those of the eighteenth century trumpet a. As with those of borrow and Xoalack, they have achieved no degree of acceptance. The problem Is apparently an econoaie one» It is difficult to persuade a successful trumpet player to gin tip several months inooae In order to obtain the elarino technique, and then ask hlai to depend upon the performance of baroque truapet parts for his subsistence* The present writer, in order to better understand the problea* of clarlno playing, and to detenaine the sound of the natural truapet, has constructed an instrument that oan be lengthened from seven-foot D to eight-foot 0* This was accomplished by adding enough tubing, on each side of the tuning-slide tJ, to lengthen a Modern four and one-half foot B flat trusset to seven feet. The first two valves are used to correct faulty Intonation on the seventh, eleventh, and fourteenth partial*• The third valve, when depressed, adds a foot of tubing to the air column, pitching the instrument in eight foot C. This instruaent is jsanifestly a makeshift, expreasly for experimental purposes, but it has served to reveal several factst 1» The sound of the instrunent is variable) it can be constructed late in the nineteenth century two-valve trumpets in A, designed to reproduce the old tmuqpet parts. •tip.

~~made to "be ahrill and piercing, or soft and rather appealing, em in the upper ltaits. *fho timhm la •auch like that of a high pitohed troaibone, or an open French horn.~~

2# Tie technique is not priimrily & natter of endurance, as far as "blare and blast" it concerned. fh# lip i&iscles react, In the "b#glis»iug# aaeh ae those of "b&giufiiag oboe player*. In the early stages they tend to give wmy without warning of fatigue. The technique of selecting the partial® with the lip ia akin to that of the French horn. Indeed, the possibility is strong that horn players might transfer to this instrument wore easily than B flat trumpet players. 3. The breath control is exercised mch like that of an oboe player# The problem is not one of getting a fresh air aupply, but getting rid of the excess stored up so that new air may be inhaled. As in all wind instruments» the best results are obtained with a full reservoir of air supporting the tone, be it piano or forte, high or low. It ia to be hoped that the problem of performine the baroque trumpets will be pursued to a solution universally acceptable to players, conductors, and audienoes, thereby releasing a great body of worthy musical literature for ii$& ragular parforwanaa, litarature a&iieh otharwiaa 1# doomad to sporadic parfomoaaea for a swill portion of it# And a® par- foraanoa at all for the graatar part of it* APPENDIX I

~~NOMENCLATUHE OF THE TRUMPET AND MOUTHPIECE A~~

A* Mouthpipe, into which the mouthpiece is plaeed B. Tuning orook 0« Leather wrapping, to make the instrument rigid B. B«td| usually decorative, fastening the boll to tho tube B. Boll, usually decorative A-E. Sounding length of inatrument * determining fundamental A-D» Cylindrioal aeotion of the tube D-S» Conioal aeetion of the tube

~~1^3 ili4 7~~

~~1. Rla If. Throat 2, Gup Baekbore 3# Shoulder 6. Width of Cup of the 7. Outside throat diameter~~

~~D B~~

~~A. Noaenolature of 0, Clarino south©!®©© brass mouthpieces (J. W. Haas) B» P-tru»p#t mouthpiece D# Clarino aouthpieae (Michael Halnleln)-* {Johann L» Ehe)~~

~~'Proia Werner Menke, The Trumpet of Bach and Handel Anxmix XI~~

~~TABLE Of THK WORKS OF Ml** USXlfl fRWfW~~

~~Thm following fc*Wt showing th* eosnpotitiona ia wtiiefe 8*n~~

~~Composition Soored fox* Kay of Koy of toy of iweaaafe Jarte Trumpet~~

~~170t| Alol** OlKPlsiO 1 Clarlno 11 Principal© 3 0 & 1708 L* Trowbe 1, II i> D D~~

~~1706- A*l$ Oala- 32 tw • roll- f#e® Traaba 1# 11 ):» © £ 170Q fib# Triuaaph of Tla* M3»I *ratb Tyoaba i* 11 i> D D 1708- Agrlpplna Twafea i, u is I'l 9~~

~~145 346~~

~~TABLE 1—Contlaatd~~

~~Kay of Kay of Kay of Date Coapoaitlon Soorad for Kovaaant Fart Trunpat~~

1711- Rinaldo Troaba I, II 32 III, IV 0 D P frornba D D D 1712 Teaeo Troaba I, II D D D 1713 f« % Jubilate Troaba 1, 12 D D 1713 Birthday 0d» for Quaan Aim® Troaba I, II D D © 1715 Amadlgi Troaba D D 15

~~1715- I6T Water Mu*lc Troaba 1, II » » ©~~

~~1720 B&daalato Troaba I, II D © D 1721 Sfuzio Sc©v~ ola, Aet III Troab* I, II D D D 1721 Florldante Troaba I, II D D D 1723 (Hullo Caaara Trotatoa D 0 D 1726 Alaaaandro Troaba I, 11 D D D~~

~~1727 iiiccardo Troaba X, II > III D D I> 1727 Zadok tha Prlaat Troaba I, II9 III D D 0 1729 Lotarlo Tromba D D 0 1730 Partanopa Tromba D 0 D 1731 P©2*© Troaba D 0 » ikr~~

~~TABLE l-*Cenfc limed~~

~~Data Composition Scored for Kay of Kay of Kay of Movaaaat ?arfe Truapefc~~

~~1732 Bs&O Troaba D 9 D 1732 Boaar&a Troaba I, iz 1) D D~~

1735 Deborah Tromba 1, XI * III D D D 1733 Athalia Troaba I, II D D D 1734 11 Parnaiso in Peata Troaba I, II J> © P 173k Ariodante Trcnaba D D D 1734 tedding Troaba I /En §7 Anthem Como I © 0 Troaba II /jH D Oomo II P D D 1736 Alexander1• F«n»t Troaba I, II D 0 D

1736 Atlanta Troaba I, II » Troaba III D D 0 1736 Oiuetlno Troaba I, II D » D 1738 Sers® Troaba D D D 1738 Saul Troaba I, 11 a C 0 1738 larael in Egypt Troaba X# II c 0 0 1739 Ode for St, G®eilia»i i Bay Troaba I, II D » D 17!|JO L'Allegro, 11 Fanaaroao ed 11 Modtr- Troaba 1 D0 D D ato Troaba 11 D P TABLE 1—Continued

~~Dato Scored for Key of 1 Key of K&j of Composition Iovea®nt Part Tymnet~~

~~1740 Dsidoraia Tromba I, II D I) D~~

~~17kX Sauson Yrotaba I, II D D D llkl Th® Messiah Tromba I, II D D D 1710 Sexmle Troaba I Tromba II D D 0~~

~~1743 Dettingsn Tromba I, II T« Dsura Principals I) D 0~~

~~1743 Joseph Tromba I, II Principal* D D D~~

~~1744 Bslshas«ar Tromba I, II D D D~~

17kB Susanna Tromba I, II 1) D D l?lf6 Judas Troaba I, II Maccabeus III l> D 17^6 The Tromba I, 11 Occasional Principal# D 3 » Oratorio ehorus Tromba I, 11 p. 45 Principal© 0 0 0 chorus Troaba I, II p. 106 Principal® D D D chorus Troaba I, II p. 192 Principals 0 C C chorus Tromba I, II p. Principals D D D

~~17^7 Alexander Baius Tromba I# II D D D 1747 Joshua Tromba I, II D D D lifl~~

~~TABUS 1—Continuad~~

~~ley of ley ©f K»y of Bat® Coapoeitlon Scored for KovaMnt fart Trwaeqpet~~

!7ltB Solomon Trmhm I, 11 D p D 1749 Theodora Trwab® X, II D D D 1749 Fire-work Troaiba. 1 Hu*io 3 per parte X> 0 D Troaaba II 3 per parte D D D froa&a III 3 per parte D 0 D 1749- Musi© for 50 tit# Drama Aloeate fromba 1, II D D D 1750 The Choice of Herettlea Troaba I, II D D D 1751 Jephtha Trouba I, II D D D 1757? Anthem, 0 Praise the Trosaba Xf XI 0 U P f Cantata, 0 Com chiare e belle Troa&a D D D

~~f Coneerto B Troaiba lt 11 D D D APP8HDIX HI~~

~~TABLE OF fMI WORKS OF BACH USXHCt TRUMPET~~

Tib* following tabla Is organised ahronologioally, accepting tha dataa a# thay appear in tha Baohgaaallaohaft• For econoaj of ipAM, tha cantata# are liatad by thair Bach- gasallaehaft nunbaring rathar than by titla. fk# daaigna~

tiona Cit e., olarino.fcroiaba. eto. f) am exactly ti thay appear in tha Baehgaaellachaft edition. The interpolation da tlraral« in brackets, is an indication that the present writer, upon examination of the owsio, judged that tha part would hare had to ba played by that inatronant*

~~Kay of Say of Kay of Data Composition Seared for KovaauMtt fart Trunpet~~

$1704 Gantata Olarino I so. 15 Olarino XX Prineipale 0 0 C f 170 a Cantata Tr«wba X Ho. 71 Tn*»b* XI Tronba XXX 0 0 c ^1714 Cantata Troaba X Ho. 21 Tronba IX Tromba 111 c c 0 |"'1715 Cantata Tromba X No. 31 Tromba XX Troaba XXX c c c

~~150 151~~

~~TABLE 2—»Conticu«d~~

~~Say of Kay of Kay of mtm Coaqpoftltlen Scored for jgovaaan t fart Truapat~~

Saatata 0l3O« i©. lis Troaba /&*. tirar®j7 A A # 17X6 Cantata Trosba 1 Ho* 59 Trooba 11 C C 0 ( 1716 Cantata Troiaba C 0 0 1®, 70 ftgooba ff /da tlrarai/ 0 c 1716 Cantata froabfit c c 0 Ho. 11*7 tgMtiba £da tirar»j7 a a • 1721 Brandenburg Conoarte io. a Troaba F 0 F f Or«rturs in froa&ba I • D (1) Troaba IX Troaba 1X1 0 0 0 f Overture In Troaba "1 0 {2} Troaba II Tnsmbli. hi D 0 2> f Slaf^al©- Troalm X sat a In D tvoriba XI T*oaba 1XX D 0 D 1723 Cantata Tros&ba X !©• 63 Troaba. 11 Trcsoba III Troaba IV C G 0 1723 Cantata Ho. 75 Troaba 0 G 0 152

~~fAB&S~~

~~Data Coapoaitlon Seortd for my Mmj of my «t Part Truaapat~~

~~Cantata Bo. TS (in 0) 0M. tir«p»j7 Cantata So, 76~~

Cantata fysaoba X lot 119 Trooba 12 Treaba ill froabft I? Magnificat Treoba 1 in D dur Troaba II Troaba III Cantata Glarino Mo. 24 #a tirar«|7 Cantata &©»toa I Ho* 69 Vfca&m II Troaba HI Cantata ^rotaba lo. 12 £fi& tirars|7 Oboe o Tgoafeil Zda tirar«i7 Cantata Troaba da So# 20 tlraral

~~Cantata fpoffiba da Vo« 77 tiraral 153~~

~~TABLE 2—Oontimed~~

~~Dato C~~

~~«! < it Tmm 2—~~

~~Bate Composition SooroS for Key of Key of toy of IweatJiiit fart Tfruapot~~

1730 Cantata Trcaba I No. 171 Trccaba II Troaba III B / C D pm% Cantata Trooba I No, 29 ' f«®!» II Trooba III D C D 1731 Cantata, So. 66 fwwfea 3> C D mx Cantata Tronba 1 »o. 1%9 Tj*eatoa li Troaba XII D £> D fp-oraba I Traaba II f2*o®ba III C C 0 mi Cantata Tromba I Ho. 172 Troiaba II Troaba III 0 c 0 1731 Fftoabu* Tromba I ural Fan tvoob* II Troaba III D C D 1731- Cantata 2 so. 51 Troaba C c C 1732 Cantata Troatba I So. 129 Troatba II •Troaba III D c 1) 1732 Cantata Tromba I Ho. 137 Troaiba II Tromba III 0 c c 1733 Cantata Troaba I Ho, 191 Troaba II Tromba III 1) c D 155

~~TABLE 2-»~~

~~Data Kay ©f lay of Kay of Coapoiltlon Soorad Tor Movaaant Part Tnw^iafc~~

1733 Hohe Masse Troaba I Troaba 11 T*offitea III D 0 D 1 H * 0 1733 m Tromba D c D 173ft- Weihnaohta- Tr«ba I oratorlua Tromba II Troaba III D 0 D 1731). Sehleieht, Troaba I splolsads troaba XI lallsn Tromba III D 0 D mk Frals da in' Tromba I Glficke Tromba II Troaba III D c D Post 173k Cantata Troaba I Ho. 110 Troaba II Troaba III D C D Troaba /at* tirartl^ D » * 1735 Cantata Troaba da No. 5 tirarsi col soprano Bb Bb * fromba Bb c Bb 1735 Cantata Treaafea x Ho. 43 Troaba II frosba III C c 0 Troaba C 0 C 156

~~TABLE 2—-Contlrmad~~

~~Kay of Say of Kay of Date Coopoaltion Seored for ?i[ovaaan t Fart fruapat~~

~~1735 Cantata Troaba 1, II MO# 10 eol Soprano Traraba III ool Alto /Sa tirarfij7 0 & * HH H £k x 11 1 Cantata 1735 H Ho. % M C 0 c~~

~~Tgeatba I /3Ea tlrarijl/ a C a~~

~~1735 Cantata !©• 123 Tronba D 0 &~~

~~1735 Cantata Tromba I Ho. 175 Tromba II D 0 D~~

~~1735 Cantata Tromba © i®» l*.6 Corno da tlrarai f F •~~

~~Troaba 0 Como da tlrarai col Soprano Bb 8b «~~

~~Troiaba D C D~~

~~H Cantata %0 Ml No. 103 fromba * /da fcirartj/ eol Soprano D J> •~~

~~1736 Cantata Tronba I No. 11 Tron&a II Tro»ba III D 0 D~~

~~1736 Cantata Tromba 1 NO. ip. Tromba II Troaba III C 0 a 157~~

~~TABLB 2—Continued~~

Pat® Coopoaltlon Seorad for Say of Kay of Kay of Movement Fart 9*)nwp#t 1736 Baator Trozaba 1 Oratorio • Tromba II Troaba III 0 0 » 1737 OiustatA frofflfoa I lo. 197 •Froaba II fraab* III D 0 1737 Anganafcna* Troaba I Wladarau *roaba II TrosO>a III 0 c D 1738 Cantata Troattoa I lo, 30 Troaiba II Troaba III D Q B 17i*Q Cantata Trosba I Bfo. $0 Tromba II Tronba III » C 0 17^0 Cantata Trambtk

*o. 126 iJSa tlrara^/ a F * 171# Cantata Trambu No, 127 tirara|7 F 0 • 1740 Cantata Tromba I No, 130 Trotaba II Trosaba III C c c 1740 Cantata Troanba So. 10 /da tlraraj/ Bb Bb • Oboa I, II Tromba tlrarajj P F • Tromba /la tlrarajJ ool Soprano Bb 8b # 17i*0 Oantata Troaba Ho. 48 ff* tlrar«^7 Bb Bb • 10

~~TABLE 2—Continued~~

~~Kay of Sty of Xoy of Bate Caatpoaltion Scored for immmnt ?*Vt Truag^t~~

~~MM |M« 171*0- Oanta.t* Traaba I I M©« 3% Trosfoa II Troaba III x>~~

~~da •pmt 173k Cantata Yromba I Ho. 110 Trojatoa II Troaba III e fj?©mba 2®a tirarai? I APPENDIX IV~~

~~DIGEST OF *ODG FEE I5JPAIURE A SOSAHE DI TH0SE3A, BIT OIHOLAMO PAHflll~~

The following digest of the earliest trumpet method extant includes only the material pertinent to performance on the instrument. As was usual in the period, the prefatory material contains several poems In praiee of the author, and an elaborate dedication by tfa© author to hit sponsor, Grand Duke of Tusoany Ferdinand II# Xn thla dedication, Pantini atatea that he was la the service of Fardlnand XX for sight years, tha last thraa of which ware spent in preparing this method for trumpet. The dedication Is dated April 20, 1638* As for the swale, only the first few measures of each piece hare been reproduced, in modem notation, except several oases of particular interest or of mtalcal worth, when the entire composition is presented* The title page readst Modo per Xnparare a sonars/ DI TROMBA/ TAITO DX 0OTR1A/ Quanto Kusiealxnsnte in Organo, eon Tromba/ aordina, ool Cimbalo, e ognf altro lstramento*/ Aggiuntovi molte senate, come Ballettl, Braadi, Gaprieei, Serabande, Correnti,/ Faasagi, a aonate oon la Tromba, 4b Organo inaieme*/ DX GIROLAMO PAUTXHl/ DA 8P0LBTX/ Trombetta Maggiore del Sereniss* Sraa Buea./ di Tosoana FERDlMJfD© 1X7/ IK FRASCOPORT per Daniel Vuataeh. 1636./ Con Licsnza da1 Superior!• 159 160

On the reverse ©f the title page are two paragraphs, the first of which Is introductory material for the reader* L'Autore a i Lottori Kavendo alle afcawip® questo aio debll volusse per beneflslo dl chi professa, o velesse professare dl sonar dl Trowbat non piu In aria eons gla si soleva, m m* 1 vero fondaxtento come gli altrl struaentl perfe* tti, benche la Tromba mm habbi altro she le sue note natural!* cone si vede nel prlnelplo di quest* opera, perehe a voler cooporre sopra a dette note, e lasclar lfaltre, non si e possuto far xoaggiere sforsa, e pero e bisognato obbllgarsi con le gia dlchlarate, she da per loro apportano poca vaghessat si eoae anoo molti bassl non si son© diainftlti, perohe e neoassario per regger® tale struoento dossal armonla, Gradltelo eon ognl affeto, che eosi faoendo haverete da m ool tempo altr» operef rlnettendo per© al loro dlscreto giudislo* A translation of this paragraph followst Prom the Author to the Readers Having sent to the printer this insignificant volume of of nine for the benefit of those who praotlce, or wish to praetloe, playing the trumpets no longer in the open air was formerly the euatom* but with the true foundation like all the other perfect instruments* although the trumpet has only its natural notes* as is seen at the beginning of this work, for this reason it is required to write for the said notes and avoid the others* this cannot be stressed too greatly, it has been necessary to restrict oneself to those already mentioned, so bringing through then a little grace} since also many basses ar* not ornamented* for this reason it Is necessary to support such an instrument with a great deal of har»ony, Receive it with all affection, for in doing l6l so you will hare other works from m» In tiiM) I plaoe oyself on that aeeount at your dlsorete judgment* The second paragraph is advice to players of the tvxm~ P«t« Ay-vert inentl per quelll ehe volessero inparare a sonar 41 Troaba Husloaliaente In ooneerto dl Tool, o altro

Devono 11 professor! dl detto strusento sonar* con lingua puntata, ohe 11 sonar dl flato non forma voce perfetta* S'awertlsoe, ohe quando nolle seguentl sonate si troveranno note puntate, si deve del punto servlrsene per rlplgliar flato, seoondo 1*occasions, o vero la dispositions dl ©hi profs ssa detto Btrtunento. I trovando 11N Oroppo si deve battore con lingua puntata, aa 11 trlllo va fatto a for*a dl petto, e battuto oon la gola, e si forma In tutte le note dl detto struaento. SI troverran© aloune note, ohe n@l prlnolplo dell* opera man mm aooenate, ohe a voler feraavlsl sono iaqserfette, aa perohe paasano presto possono servire* Si deve aneo awertire, ohe qaando si troverran© note dl valore, oloe dl una, dl dua, e quattro battute, si devono tenere In nodo oantablle, oon siettere la voce piano, e pol venir oresoendo slno al aeso valore della not a, • e eon 1* altro me so andar caljmdo sine al fine della bettuta, ohe a pena si aenta, ehe oosl faoendo si renders perfetta armonia. S se nel prlnelplo del libra e staapato sotto alia nota del Oesolfant 11n doy vuole stare in quel aodo, perehe la Trooba non forma m da* nfc utt per© si devono fuggire eosM fa 11 perfetto oantore, ohe non foma passagl ne In 1, n& In ml et anoo nolle tooeate dl Ouerra fl sono parole ohe dleono da ton della, atta non tano, e attanallo, voglion dire buttasella, a cavaloare, e a eavallo, et 11 tin ta vuol dire tuttif si son detfeate in quests aanlera, pe?ehe con la frooba si proferisoono oeglio, e si rendono plu fa- ©111 a punteggllarle oon la lingua, quale e 11 vero aodo dl sonar#• K per la Tromba Sordlna si deve sonar per de sol re» Mirie# for These Who with t© Laara t© Play the Truapet Musically in Concert with the

~~V9lMt or Another /fnatrunent/~~

It is naoeaaary for the players of the said instrument to play with pointed tongue since the sound of the breath alone does not form a perfect ton®* Be advised, that whan in tha following sonatas are found dotted notes, it la neo~ aaaary for tha dot to serva to raplanlah tha breath, according to tha opportunity, or tha disposition of him who la 1 playing tha inatrunent. Where tha groppo occurs it la to 2 ba playad with tha polntad tongue, bat tha trlllo la dona with tha praaaura fro» tha cheat and tha beating of tha throat, and it la dona on all tha notaa of tha instrument* There are found aome notaa, that ara not polntad out in tha beginning of tha work, that required to hold ara isapar- fact, but beoauae thay go quiekly, can ba uaad* It should alao ba pointed out that whan notaa of aoaa length are found, that la of one, two, or four beata, they zsuat ba held in a oantablle manner# beginning with tha soft tone, and than be- coming louder for half tha value of tha note, and with tha other half dying away until at tha end of the beat, it can

*The rendition of the .erospo (or CTUPPO) in tha manner of a modern trill is to be found in G. Cacolni, Vuove Musiche (1602), p. J$g. Z For the rendition of the trlllo» not like the gruppo aa a modern trill, but aa a rapid reiteration of the a ana note, see Ibid. 163 searoely to® beard, so that by so doing & perfeot harmony is rendered* And If in the beginning of the book "do" is printed beneath the not® of Oefaaolut /b|7» ** aoana it ia in that key, because the truaspet does not produce either "du" they should ba avoided as does tha perfeot singer, who doaa not fora passages either on ttiw or on *u"$ and further# in tha military flourishes there are words which «*T Hi della» .fttta .non twoi and atfcanallo, that aaant "boots and saddles»* "ride,* and Bto horse," and the tin ta if required to aound allj thay are enunciated in this mimer, because with the truaspet they are uttered better, and are produoed »ore eaaily to dot them with the tongue /staooato7# ataich is tha true method of playing* And for the nited troapet it is neoessary to play in deaolra M7* H P£ r -M£6 /6>A77TT^ MUSFC AHJD POG~<5TYL&—^ T7TW

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~~BIBLIOGRAPHY~~

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fnsffS CaBbp"s6'EneUni- Elaon, Arthur, Orohaatral l^strumenta and Thair Uaa. revlaed adition, Boaton, Tha Page Co., 19^27 ' Kngel, Carl, fjM> ifa*a.iff of the. Moat A&olcnt Kationa. London, William RaavaaVl8B4,^oaTin£Le edition, JPorayth, Ceoil, Orchestration. Now York, Macltillim Co., I9I4» second ©altion, Galpin, Francis W. , Old Rpj&lgh Inatrumenta of Mualc. London, Mathuan and Co., Ltd, third edition, 1932. Geiringer, Karl, laical Inatrvunenta. Naw York, Oxford Univeraity Preaa, 19U5*

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Praetorius, Michael, jjlBtagraft. . Jtoelcum. ¥©1. II, 0© Or«tn®» Mfell* <*oIfenb&tiel I0I9, facsimile edition, B&ren- reiter-Verlag m Xassel, 1939# Sachs, Curt, Ti» History of toslcal Instruments. New Yorir. $h 8. Norton and Co., 1^0.

~~Sohfineaann, Georg, Trompeterfanfaren. Sonaten, imd Feldstfloke. und*lirtel^9f^§9^tlfflLeipzig, Breifckopf '~~

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Stainer, John, fhe Music o£ |h® Bible, new edition revised by F. W. @S.pi»# London, Koveil© and Co,, 1914* Terry, Charlea Sanford, Bach*.a Orchestra, London, Oxford tJniveraity Press, 1932. Van Den Dorren, Charles, Gulllttaae Pufay. Bruxslles, Marcel Hayes, 1925• Virdung, Sebastian, Muaica Getuscht. Basel, 1511» facsimile edition, Btrenreiter-Verlag ssu Kassel, 1931 • Winterbothaa,ft., Th e Pulpit Ocgaaetitary, Vol. V, edited by H. I>7K. Spence and Joseph S. Sxell, London and New York, Punk and Wagnall * a, £*®9i7*

Articles Apel, Willi, BBrass Instruments,n Harvard Dictionary of Masl©. Cambridge, Harvard University Press, 19&^~ ^ Berger, Jean, "Botes on Sons l?th Century Coaiposltions for Trunpets and Strings in Bologna," ffa® ifasloal Quarterly. Vol. XXXVII, So. 3, 1951. Oatty, lieolas C«, "Truajpet," grove*a Dictionary of Mtttle ' and Musicians» Vol. V, 3r&" ed#' Encyclopaedia Brltannloa. Vol. XVI, Article, "Oliphant." Fetis, J* F., "Pantini," Blo&raphle Unlverselle Pes Musicians. 2nd ed. Vol III, 197%."" ' Hofiaan, Richard, "Die F-Troapete la 2. Brandenburglschen Konaert v. J. 3* Bach," Bach,1arbueh. 1916. Kenton, Egan F., "A Note on the Classification of l6th Century Music," The tftmleal Quarterly. Vol. XXXVIII, »©• 2, 1952* ^ Moser, J., "Daniel Speer," Acta Muslcologlca. Vol. IX, 1937. Sachs, Curt, "Bach's 'Troaba da tlrarsij" 3achjarbuch. 1903. Sachs, Curt, "Chroiaatio Truaapets in the Renaissance," Musical Quarterly. Vol. XXXVI, I©. 1, 1950* 218

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Bach, JohAnn S«ba*tian, £. jl* Baah»« rk». 2teehg«»«ll8ehaft odition, Leipzig, Brelt'toiFuSl %@i £A^Sim9W> r9" print by J. W. Edwards, Aim 4r&©r. A»olua. Vol. XI aa+feaM Wlederaa. Vol. XXXIV •randenburi? Concerto No. 2. Vol. XIX ciSala for; rwrr ~~ dinfota lo. §§» Vol. I C&atata Ho# " Vol. 21 glimtwfc No. Vol 11 Vol. II Jantata f@, Vol. 11 SmM W* Vol. 11 Vol. V# part 1 featitafrk Ifo. Vol. V, part 1 SaAafea No. Vol. V, part 1 &wm%& sl Vol# V, part 1 iSitBfeR J|», Vol, VII Cantata lo. Vol. VII SE$i Vol, I 2anta Vol, X .pii Vol. X Cantata No. Vol. X (Simfcafea Jo. Vol. X 3EBBS* Vol, XII SaSirea mm Vol. XII Cantata lo. Vol. TO Pantati," Vol. XVI Cantata Vol. XVI w»*» go- Vol. XVI Vol* XV2II siii* Vol. XVIII cantata No. Si V©1» -XflXI Vol. XVIII Vol. XVIII Vol. XVIII C&iilyim So» Vol. XX gpatafa Si* Vol. XXIII I®. Vol. mil Cantata lo. Vol. XXIV Vol. XXIV vol. XXVI Vol. XXVI Vol. XXVI Vol. XXVI .IMiiH Wo# Vol. XXVI ISil. Vol. XXVIII Cantata Vol. XXX 21)

Cantata No. XXX .guttata No, XXX Cantata tfo. XXX ®mm%& m* XXXIII Cantata Tjfo. XXXV gaaWfea i©# MM SgE Vol. XXXV ft. Vol. XXXVII gmSmfk m* Vol. XXJCVII Jo, Vol. XXXVII jSaafcat* gg» v©l. LXI gimfeirfca fo# Vol. LXI 1& 3S vol. LXI »aoe 01, Vol. VI Si JjSi Vol* XI, part b^Oratoffiia.~f£i. XXI, part 3 Upai <2J^ D |g£.t# Vol. XXXI HSliiy»aMB wwitfJ^n,* fotT*w*» iX X j pu*t 3 .-SSXTttzrlis * airQlfotea* . Vol. XXXIV impIcmWi' : pgfi^ Siii^ voi * XX, part 2 gteToalo.aailirf&n p 1 wri. tW^^. ^ fesi#ffegj u ilsliafes±m: ums&B*# Vol*ox. .XXXIwuciv? £Le& Vepslnl^t® %

~~^ Coatl, Bare Antoniot __ . An -Qgterrciciu Vols" JUS£2. Bg^ite dgr ypteMt co.7 13^6. EI ana IV, Vlanna, irtayia~~

~~^^Sa^ouo*^! ,GT0rlLi^ SHIM* BOMLatmf to $££221*2.# I, Francn Nathariarw* JJusic. ad. Vr~~

~~mmSSESTaag®l# Mew York, Harold Flaaaaar In«. p 1939.~~

~~BolXfttlno albliografico Hi.ioiU, MlS.19^. *.'20~~

~~Fiaeher, Johann Kaapar Ferdinand, Le JaumeJL du frin&t X>on]c3B.ler Dwitacher Tenkunst, Vol. a, LolpssigV Ssrei icop^ uniifflSrtclV 1"$02V~~

Arlodante. Vol. LXXXV Athaliar*Vol. V Atlimttt. Vol. LXXXVII latrnzmar, Vol. XIX Birthday Oda for Queen Anna* Vol. XI,VI A XVIII •goneorto B.Tol. 'W1I DeWrWhT Vol. XXIX freidaiaia. Vol. XCIV Dettlwtea To JDouh, Vol. XXV

~~Fxr^Wiflc Mualc. Vol. XLVI I * vol. LXV Oltillo' detwe. Vol. LXVI1I q&fftino. via. LXXXVin~~

OTI ImmM* vol. XLII Joahaa. Vol. XVII Lofarl®, Vol* LXXVI Judaa laccabeas. Vol. XXII "Meaalali. Vol. XLV Muzlo sSwoit*.. Vol. LXIV (Aefe III) Tha Oeonclon.1 Orfttorlo. Vol. XLXXI gTfoas'mM. ." ttelU. Vol. LXlb ,ri 0 "#3c^t'a^rnfa|w "l^3P^^ "Vo3L. XXXVI Qde ?or *"3t;. CoeSia'a Day. Vol. XXIII |Aar»»,»yo la t^gta, TCT. LiV Partanop©• Vox. LXXVIII fm'"1m* MXSX ^aSaklatro. Vol. LXIII ta'J;la^yrcslotia. Vol. XXXIX Seeario." ,Wi7'LXXXV sioaMo. Vol. LV1II 221

~~m* vox. ix ,# Vol. XIII TO vol. xcxi itiXman* Vol. XXVI OMW». Vol. Km &££3S£* Vol. l SS^rvoi. a Vol. fin~~

J%»* v*i. xxxvi JESkl# vol. xi? K«i»oy, Hoiniuurd, Vol*. XXXVII 1912. trtol, L* Vols, rtol, 1912. fetafcm* Johaan, i»ya iph Frttlloh a*14 an Epslg,Brtdikopf ttad Htrtol, 19x8# tollyf-fi!"'BjiLi!,t!,„riy6! StmO»Um d. J. B. Luliv. jSwT B*11' "d-' «»-* £mMl*u Vol* X Cm&aluB Vol. XXVI « Vol, XVIII «£t ®£ &pi»* vol• ii f^PPwf; t JS&al 3ong« Vol. i 222

~~Smsm, nu A • -myi^n" * * %**>vi * v x iitl&iiteg« Vol. VII Roamma, Antonlut,~~

~~iPifjii iE^J^¥OhkSi tSaiSfiahSl-Histori.)~~

~~vox. VII.~~

~~£$£9 Vola-mx~~

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~~TpUB*f* «*»*•• fro* Marin Uaraenna, Harwmie ITni- waalla, {»orth Taxaa Stat# Collaga Li\>wy dop^TT *M*a, Qiiilleliai Bmdry, 1635-6, pp. 8557~~

V.—Zugtromp«t«f fra» c. a. Terry, Bach'a Orahaatra. ». n X*adUm, Oxford Unlveralty ^UmsTW^ P 31' tj ^Pi & P /ih tet-rcL- -yOAX ^0-#ii~m-6u6 £0-—„ ^ae t? = £ W=B i 6 er pfl-J - ho~rn \ -m -4a$ e^; -'" ^ eg J r J

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