DAVID RACHOR

A by Hirschstein: The Instrument and Its Possible Use in the Military

Not a great deal is known about Mathaus purchased on eBay.1 Through a bit of detective Hirschstein (cl695-1760),3 although there is I recently work, I have discovered acquired that the a'maker's bassoon mark' in Belgium that I some documentary evidence that links him with on the instrument is that of Mathaus Hirschstein, important woodwind makers active in Leipzig a music dealer active in Leipzig during the second during the first half of the eighteenth century. third of the eighteenth century. The stamp is faint For example, Hirschstein was requested to stand but legible, and after looking at other Hirschstein as godfather in 1726 to one of the children of instruments with similar stamps I am convinced Johann Heinrich Eichentopf.4 In 1744, Hirschstein that it is a Hirschstein bassoon. Since this is the was established as a dealer in only bassoon known today with a Hirschstein Leipzig: using surviving instruments as a guide, he mark, and there are so few other extant Hirschstein was most likely in the business of primarily selling instruments,2 this bassoon is very important. woodwind As instruments. However, Paul de Wit refers Hirschstein was a dealer rather than an instrument to Hirschstein in his Geigenzettel alter Meister manufacturer a possible maker of the instrument vom 16. bis zur Mitte des 19. Jahrhunderts so it is will be explored in this article. The question of possible a that he also had some dealings in stringed possible military use for the bassoon will also beinstruments.5 Hirschstein appears to have had great considered. Like many of the period, the business acumen and at his death left considerable instrument is of maple and originally had four brass wealth, including land and personal effects. Indeed, keys, but it also has some interesting and unusual Hirschstein and two other compatriots, the Leipzig features that deserve special comment. musical instrument makers Johann August Crone

1 My thanks to James Kopp and Sharon Hansen for reading the draft of this article and for providing helpful suggestions. 2 The following is a list of the known signed Hirschstein instruments: two d'amore (Museum fiir Musikinstrumente der Universitat Leipzig, nos. 1337 and 1337a); a one-keyed in A (Musikinstrumenten-Museum, Berlin, no. 2672); and a one-keyed flute (Dayton C. Miller Flute Collection, Library of Congress, Washington, D.C., no. 272). See William Waterhouse, The New Langwill Index: a Dictionary of Musical Wind-instrument Makers and Inventors (London: Tony Bingham, 1991), p.177. 3 In The New Langwill Index, p.177, Waterhouse gives the death date of Hirschstein as 1769, but according to Giinter Dullat, Verzeichnis der Holz-und Metallblasinstrumentenmacher auf deutschsprachigem Gebiet (Tutzing: Hans Schneider, 2010), p.216, Hirschstein died in 1760. 4 Waterhouse, The New Langwill Index, p.177. 5 Willibald Liitgendorff, De Geigen und Lautenmacher vom Mittelalter bis zur Gegenwart (Frankfurt am Main: Frankfurter Verlags-Anstalt A.G.,1922), 2, p.218.

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This content downloaded from 134.161.122.50 on Mon, 02 Jul 2018 22:51:50 UTC All use subject to http://about.jstor.org/terms The Galpin Society Journal and Johann Friedrich Schwabe, shipped boxes of could place his stamp on an instrument is important musical instruments throughout Europe as far to this study.10 In comparison, it is interesting to as England, Portugal, Poland and Lithuania.6 It is note that the London firm of Longman and Broderip also known that Hirschstein kept a warehouse in purchased finished keyboard instruments from Frankfurt an der Oder, probably to facilitate the Thomas Culliford and Company,11 whilst at the same shipment of instruments to the east. Three years time supplying John Geib with all the necessary after the death of Hirschstein, his widow Johanna materials to make musical instruments and only Regina married Christoph Jonathan Korner, who paying him for his work.12 continued to operate the Hirschstein firm until his The Verlag system that operated in Leipzig at this death in 1767. How the firm continued after this is time may be demonstrated by the huge order of 64 unclear, but it was eventually sold in either 1772 bassoons in 1788 by the dealer Johann August Crone or 1774.7 (1727-1804) from Carl Wilhelm Sattler (1738-88).13 Herbert Heyde has shown that instrument Carl Wilhelm Sattler was an independent woodwind making in Leipzig during this period frequently maker who, when business was slow, also worked as followed a business model known as the Verlag a subcontractor and undertook piecework for other (out-working) principle, a system of subcontracting makers. However, it was Crone who, as Verleger, between instrument makers.8 The image of anprovided the materials and money to advance the instrument maker working alone in his workshop production of these bassoons, which were made over on a single instrument appears far from the truth.9 a period of just sixteen weeks between 13 April and Established Leipzig master instrument makers 7 August 1788. It is also known that Sattler employed frequently employed several journeymen and often three journeymen in his shop and subcontracted his made instruments for other makers. Complete brother-in-law Gregorius Ludewig,14 an independent instruments were made by independent makers brass instrument maker, to make the brass but it was often the contractor or Verleger who put components of the bassoons. The need for such a his stamp on the instrument. This system is quite large quantity of bassoons in Leipzig at this time will different from another eighteenth-century business be discussed later in the paper. model in which parts of the instruments were made by several journeymen and then assembled by aGENERAL DESCRIPTION OF THE master maker. In my opinion, Hirschstein contracted HIRSCHSTEIN BASSOON a woodwind maker to make the bassoon and then Of the four original keys (F, A-flat, D and B-flat), only put his own stamp on the instrument. The fact thatthe D and B-flat keys on the long joint and the F key only the proprietor of a workshop or a merchant touch on the boot survive; the A-flat key is lost.15

6 Herbert Heyde, 'Der Holzblasinstrumentenbau in Leipzig in der 2. Halfte des 18. Jahrhunderts', Tibia 3 (1987), p.482. 7 According to Dullat, Verzeichnis der Holz-und Metallblasinstrumentenmacher, p.216, the Hirschstein firm was sold in 1772; however, Heyde, 'Der Holzblasinstrumentenbau in Leipzig', p.483, gives the year of sale as 1774. 8 Herbert Heyde, 'Entrepreneurship in pre-industrial instrument making', Musikalische Auffiihrungspraxis in nationalen Dialogen des 16. Jahrhunderts, Teil 2, Musikinstrumentenbau-Zentren im 16. Jahrhundert, edited by Boje Schmuhl (Augsburg: Wifiner-Verlag and Stiffung Kloster Michaelstein, 2007), p.56. 9 The famous engraving of 1698 by Christoph Weigel, which depicts a lone bassoon maker, possibly Denner, working on a dulcian comes to mind. See William Waterhouse, 'Bassoon', The New Gove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie (London: Macmillan, 2001), 2, p.883. 10 Herbert Heyde, 'Makers' marks on wind instruments', in Waterhouse, The New Langwill Index, p.xix. 11 See Jenny Nex, 'Culliford and Company: Keyboard Instrument Makers in Georgian London', Early Keyboard Journal 22 (2004), pp.7-48. 12 See Jenny Nex and Lance Whitehead, 'Musical Instrument Making in Georgian London, 1753-1809: Evidence from the Proceedings of the Old Bailey and the Middlesex Sessions of the Peace', Eighteenth-century Music 2/2 (September 2005), pp.251-71. 13 Herbert Heyde, 'Entrepreneurship in pre-industrial instrument making', pp.56-7. 14 Dullat, Verzeichnis der Holz-und Metallblasinstrumentenmacher, p.401. 15 For the terminology used to describe the keys and parts of the bassoon, see Philipp Young, 4900 Historical Woodwind Instruments: An Inventory of 200 Makers in International Collections (London: Tony Bingham, 1993), pp.xi-xii.

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Table 1.1. Measurements Measurements (in (inmillimetres) millimetres) may be the remnants of a lyre music holder, is of the Hirschstein bassoon. original, but considering its condition it seems to be Overall assembled length 2129 (915 +1214) very old (Figure 2 in the colour section). Height (assembled boot joint, long 1214 SPRINGS joint and bell) The one extant spring on the boot joint is made Wing length (including tenon) 537 of brass about 0.5mm thick, and is located under 424 Boot joint length where the A-flat key would have been (Figure 3 in Long joint length (including tenons) 599 the colour section). It is fixed to the body with a Bell length 277 pin into the wood. The spring under the F key flap Wing joint bottom tenon diameter 17.6 x 18.1 is missing but appears to have been attached to the body of the instrument in the same manner as the Long joint bottom tenon diameter 23.4x24.4 A-flat key spring, since there is a hole in the wood Long joint top tenon diameter 30.3 x 31.0 between where both the saddles and the spring Bell end diameter 24.9 would have been. The keys on the long joint cannot be removed since the pins on which these keys pivot The bocal is lost and the wing joint is totally rotted are rusted into the integral wooden blocks, so it through about 3.5cm from the top, making the bocal is impossible to inspect the two springs under the receiver separate from the rest of the wing joint. The long joint keys in detail. However, they seem to be two keys on the boot joint are held by brass two similar to the springs on the boot joint since they are piece saddles and the two keys on the long joint are attached to the body of the instrument and look to held by integral wood blocks. With the exception of be of similar brass construction. During this period the wing joint and the missing keys on the boot joint most bassoons springs were attached to the body of the bassoon is in good condition. The poor state theof instrument. the wing joint, however, precludes the restoration of the bassoon to playing condition, particularly SADDLES considering the historical value of the instrument.16 The key saddles on the boot joint are, in my opinion, For basic measurements of the instrument see one of the most interesting and important aspects Table 1. of this bassoon, particularly with regards the identification of the possible maker. These three BELL key saddles used to secure the A-flat key and two There are two interesting features of the baluster separate parts of the F key are constructed from brass shaped bell. Firstly, the bell rim (about 12mm across plates pressed down in the wood. They are of a two the top of the bell) is covered by the brass of piece the design, with the pin (on which the key pivots) bell crown: this is very unusual and may have insertedbeen into holes in the brass plates (Figure 3 in the designed to protect the top of the bell, especially colour section). Keys at this time could be supported if the instrument was intended for long periods by ofintegral blocks, made when the boot joint was outdoor use (see Figure 1 in the colour section). turned down from the billet,17 by brass saddles of Secondly, there is a brass arm (about 9mm wide, a one-piece i—i-shaped design, with the bottom of 83mm long and 3mm thick) screwed to the bell. the It i—i fixed to the body of the boot using screws, is not possible to ascertain whether the arm, which or by a wire staple.18 The latter method, related to

16 It should be noted that the decayed upper portion of the Hirschstein wing joint is typical of many historical bassoons. Because of their high cost, bassoons were played for many years and the long-term exposure of this part of the bassoon to moist air from the player's mouth often led it to deteriorate. This is also the reason why the wing joints of modern bassoons are lined with ebonite. 17 Integral block saddles on the boot joint occur less frequently than brass one-piece saddles, but can be found on bassoons made by Johannes Scherer (Gemeentemuseum, Den Haag, no. MUZ-1952x0062); Johann Heinrich Eichentopf (Ober-Osterreichischen Landesmuseum, Linz, no. Mu 35); and August Grenser (Musee de la Musique, Paris, no. E.188, C.505). 18 For a discussion of this wire staple system see Phillip Young, Die Holzblasinstrumente im Ober-Osterreichischen Landesmuseum, Kataloge des Oberosterreichischen Landesmuseums, Neue Folge, Nr. 113 (Linz: The Museum, 1997), p. 196.

This content downloaded from 134.161.122.50 on Mon, 02 Jul 2018 22:51:50 UTC All use subject to http://about.jstor.org/terms The Galpin Society Journal LXIV(2011) the type found on the Hirschstein bassoon, was oblong cork design, the cork not only needs to be used by of Nuremberg made in the correct form of the oblong hole to make around 1700.19 an air tight seal, but also in the correct U-shape to make the turn around. It must also be placed at the FERRULES correct distance from the septum, or the bore profile The two brass ferrules on the boot joint are at very this point would be too small or too large, greatly loose, undoubtedly caused by wood shrinkage. affecting The the intonation of the bassoon. brass ferrules on the top of the wing joint and the bell crown are also loose but less so than the ferrules POSSIBLE MAKER on the boot joint. In contrast, the ferrule on the In orderbell to identify a possible maker of the Hirschstein socket is still very tight against the wood, perhaps bassoon, one must consider both documentary and because the long joint tenon inside the socket physical evidence. Perhaps the best way, though, is to prevented the wood from shrinking.20 compare it with four other bassoons known to have been made in Leipzig at around the same time: BOOT TURN AROUND The boot turn around is of a two-hole •design; Sattler (Museum fiir Musikinstrumente der although this system can be found on otherUniversitat Leipzig, no. 1369) bassoons from this period it is not as common ♦ Sattleras the (Ringve Museum, Trondheim, RMT 75-2) type characterized by an oblong cork in the bottom♦ Johann August Crone (Museum fiir of the boot joint. The bore segment formed Musikinstrumente at the der Universitat Leipzig, bottom of the boot where the bore turns around is no. 1383) made by removing the wood between the two bore • Johann August Crone (Germanisches segments about 2-4cm from the bottom of the boot. Nationalmuseum, Nuremberg, no. Mir 409)21 When looking at the bottom of the boot, one sees only the two round holes formed by the ends of The fact that all five bassoons share a number of the bore segments (Figure 4 in the colour section). common features, as well as the known connections This system has certain advantages over the normal between their maker/dealers gives us three possible system of removing all the wood below the septum, makers for the Hirschstein bassoon: Johann August especially in terms of fitting the cork made to close Crone and two members of the Sattler family. the bore of the turn around. In the system used on However, while the two Crone bassoons in Leipzig the Hirschstein bassoon, the corks are simply made and Nuremberg are both stamped with the I. A. Crone to fit the round holes formed by the end of the bore mark the instruments themselves are markedly segments. However, in other systems, the corks need different and were probably not made by the same to be oblong and it is quite time consuming to fit this workshop. Indeed, Herbert Heyde has suggested irregular size to the boot. While the method used that the so-called Crone bassoon in Leipzig bears on the Hirschstein bassoon could be even more time a Handlersignature or dealer's stamp and that the consuming to produce by the maker, it would beHersteller (maker) is unknown.22 Considering the much easier to get an air-tight seal in the boot turn lack of similarity between the two Crone bassoons around, and the two round corks are much easier plus the 1788 contract between Johann August to replace. In addition, this two-cork design makes Crone and Carl Wilhelm Sattler, it would seem that it easier to maintain the bore profile in this critical Crone was a dealer rather than a maker23 and that area of the bassoon bore. With the commonly found he obtained his bassoons from at least two different

19 Examples of Johann Christoph Denner bassoons that make use of this wire staple system include nos. 2969 and 2970 in the Musikinstrumenten-Museum, Berlin. 20 Information from Mathew Dart, personal correspondence (10 May 2010). 21 There are, of course, other bassoon makers who worked in Leipzig during this period who could be considered as possible makers for the Hirschstein bassoon: Johann Heinrich Eichentopf; Johann Poerschmann; Winckler; and Kraus. However, the bassoons of Eichentopf and Poerschmann are very different from the five under consideration, while the Kraus bassoon preserved at the Germanisches Nationalmuseum, Nuremberg (no. MI 373) only has a few features in common with the above mentioned five.

22 Herbert Heyde, Rohrblattinstrumente, unpublished catalogue (1979), p.442. 23 This theory has also been expressed by Gunter Dullat, 'Crone, Johann August', Verzeichnis der Holz-und Metallblasinstrumentenmacher auf deutschsprachigem Gebiet (Tutzing: Hans Schneider, 2010), p.104

This content downloaded from 134.161.122.50 on Mon, 02 Jul 2018 22:51:50 UTC All use subject to http://about.jstor.org/terms Rachor — Hirschstein sources. Since the Crone bassoon preserved in The construction of the long joint on all four Leipzig bears little resemblance to the Hirschstein bassoons is also similar. This evidence by itself would instrument it warrants no further comment in the not point to a single maker or family, but it does current study. add to the list of common characteristics shared by The remaining three bassoons and the Hirschstein the bassoons. The long joints all have the following instrument are very similar as regards all or most common features: the same number and shape of of the following features: two-piece saddles; the bell large, integral wood blocks in which the keys pivot; crown; the long joint construction; the two-hole the same single turning at the bell tenon; and the design of the boot turn; and the key shape. Let sameus shape of flattened area where the key flap first consider the two-piece saddles. While they are touches the long joint. In addition, the long joints of found on both Sattler bassoons, the Crone bassoon the Hirschstein and the two Sattler bassoons have a in Nuremberg and the Hirschstein bassoon, they are long flattened area starting directly above the tenon, not a feature commonly found on bassoons from which is inserted in the boot going about 30cm up any period. Indeed, two-piece saddles appear to be the long joint. This flattened area is on the side of the characteristic of bassoons made in Leipzig and since long joint that fits next to the wing joint when the only the Sattlers were known to be bassoon makers bassoon is assembled and decreases the diameter of it strongly suggests that all four instruments are the long joint in this area. It has the effect of enabling products of the same workshop.24 the wing to be closer to the long joint. This flattened The design of the bell crown is also very similar area would indicate that the wing and long joints are in all four instruments: round holes as a part of the of the same proportions with regard wood thickness, embellishment of the crown; a quasi-fleur-de-lis and that the two bore segments in the boot are the design below the round holes; and two horizontal same distance apart. lines intersecting the round holes. In addition, the The two-hole design of the boot turn around also bell shape of the four bassoons is strikingly similar: points to a single maker, since by the second half all four have the same portion of the bell without of the eighteenth century most bassoons are found turnings, moving up about 11cm from the bottom with the oblong cork design in the boot. The two of the bell socket ferrule to the beginning of the signed Sattler bassoons and the Hirschstein bassoon turning, that makes the baluster shape of the top all have the two-cork design in the boot.26 17cm of the bell.25 Since bassoon makers purchased their keys from Three of the bassoons are also similar with regard specialist metal workers, similarities in design the ornamentation of the brass ferrules. For example, provide weaker evidence for a particular workshop the Hirschstein and the Sattler in Leipzig have the than other similar physical characteristics.27 same two-line pattern (about 1.5mm apart) in all However, it should be stressed that both the key four ferrules and the bell crown. All the ferrules on touches and the key flaps on the long joints of the the Sattler bassoon in Ringve are lost except for the three bassoons have similar shapes. The surviving bocal receiver ferrule on the wing joint and the bell key parts on the Hirschstein boot joint are also crown, but both of these also have the same two similar to the two signed Sattler bassoons.28 line pattern. All the ferrules on the Crone bassoon Thus, it is highly likely that both Sattler bassoons, in Nuremberg are smooth and lack the ornamental the Crone bassoon in Nuremberg and the Hirschstein lines, but since we know that the metal work on bassoon were made by the same maker or family bassoons was contracted out, it is arguable that the and, if we can identify the maker or family of the two ferrules came from a different source. signed Sattler bassoons, then it should be possible

24 According to both Herbert Heyde and Mathew Dart (personal correspondence), two-piece saddles seem to be a unique feature of bassoons made in Leipzig. 25 The bell thickness of the Hirschstein and the Sattler in Leipzig are very similar and at five corresponding points along each of the two bells the dimensions are within 0.3mm. Just above the bell socket ferrule: 46.4 mm (Hirschstein), 46.5mm (Sattler); the widest portion of the baluster: 52.1mm (Hirschstein), 52.0mm (Sattler). The wing and long joint wood thicknesses also are very similar in dimensions, although not as close as the bells. 26 It was not possible to determine whether the Crone bassoon in Nuremberg also has the two-cork design on the boot since the boot cup could not be removed. 27 Heyde, 'Entrepreneurship in pre-industrial instrument making', p.56. 28 The shape and form of the keys of the Crone bassoon in Nuremberg is very different from the other three, perhaps because they were produced in a different workshop.

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to identify the maker of the Hirschstein instrument. these same three elements with the addition of However, there is much confusion with regards the two crossed swords below the crown and above Sattler family: different members of the family were the name 'Sattler'. If we consider the similarities active at the same time and several generations were of the stamps of the Johann Gottfried Sattler oboe given the same name.29 Thus, there are actually d'amore and the Sattler bassoon at Ringve, a case three members of the Sattler family that could have could be made for Johann Gottfried being the maker made the Hirschstein bassoon: Johann Cornelius E. of one of the signed Sattler bassoons and therefore Sattler (1691-1739), Johann Gottfried Sattler (1707 the Hirschstein. However, the Sattler bassoon in 55) and Carl Wilhelm Sattler (1738-88).30 Johann Leipzig contains only two elements of the stamp: Cornelius E. Sattler can be eliminated since he died the name 'Sattler' and below it an 'S'. It is possible a few years prior to Hirschstein's arrival in Leipzig. that the simplified stamp was used by Carl Wilhelm, However, there is a case to be made for Johann who may have wanted a design that was similar yet Gottfried Sattler, the father of Carl Wilhelm.31 distinct from that of his father, but it has not been While Dullat has described Johann Gottfried aspossible to verify this. a Metallblasinstrumentenmacher (metal wind The strongest evidence for Carl Wilhelm Sattler instrument maker), he also states that Carl Wilhelm being the maker of the bassoon is the contract for 64 (a known woodwind instrument maker) learned his bassoons made in 1788. While Carl Wilhelm Sattler trade from his father.32 In addition, we have an oboe was only 22 at the time of Hirschstein's death in 1760, d'amore in the GNM (MIR 392) which has been making a contract with Hirschstein himself very attributed to Johann Gottfried by Phillip Young.33 So unlikely, there is the possibility that one was made we have some support for the possibility that Johann between Carl Wilhelm and Christoph Jonathan Gottfried made woodwind instruments. Korner or another proprietor of the Hirschstein firm At this point the stamps of the members of the during the 1760s or early 1770s.34 No contracts have Sattler family need to be addressed. There are four come to light between a member of the Sattler family elements in the stamp of both Johann Gottfried and Hirschstein, or between anyone else connected and Carl Wilhelm Sattler: a crown, crossed swords, to the Hirschstein firm before it ceased operations in the Sattler name, and an 'S'. Anything else that 1772 or 1774, but this, of course, does not preclude might give a clue to which member of the Sattler that a Sattler could have been one of Hirschstein's family made a particular instrument, for example subcontractors. Although it is difficult, if not the initials of the given name of the maker, is not impossible, to definitively attribute an instrument present on the instruments we are considering. The to a single maker or family, especially considering stamp on the oboe d'amore attributed to Johann the Verlag system of instrument making in Leipzig Gottfried mentioned above contains three elements: at that time, when one takes into account the similar a crown; the 'Sattler' name; and an 'S'. The stamp characteristic of the above discussed bassoons, there on the Sattler bassoon at Ringve also contains is a strong likelihood that either Johann Gottfried

29 For a discussion of the identification of Sattler instruments, see Phillip T. Young, Loan Exhibition of Historic Double Reed Instruments (Victoria: University of Victoria, Aug. 1988), No. 58 (unpaginated); and Phillip T. Young, 'Inventory of Instruments: J.H. Eichentopf, Poerschman, Sattler, A. and H. Grenser, Grundmann', Galpin Society Journal XXXI (1978), pp.100-1. 30 Dullat cites two other members of the Sattler family living in Leipzig in the second half of the nineteenth century: Friedrich August Sattler (1775-1850) and Christian Friedrich Sattler (1778-1842). However, both of these instrument makers were born too long after the demise of the Hirschstein firm to have made the Hirschstein bassoon. See Dullat, Verzeichnis der Holz-und Metallblasinstrumentenmacher, p.401. 31 To add to the confusion, Waterhouse posits that there were two makers named Johann Gottfried Sattler: father (1707-1755) and son (1731-1807). See Waterhouse, The New Langwill Index, pp.9 and 345. 32 Dullat, Verzeichnis der Holz-und Metallblasinstrumentenmacher, p.401. 33 There is some disagreement regarding the attribution of this instrument: while Martin Kirnbaurer believes that it was made by Johann Gottfried Sattler, Phillip Young has argued that it was made by Johann Cornelius Sattler. See Martin Kirnbauer, Verzeichnis der Europdischen Musikinstrumente im Germananischen Nationalmuseum Niirnberg, Band 2, Floten- und Rohrblattinstrumente bis 17S0 (Wilhelmshaven: Florian Noetzel Verlag, 1994), p.148; and Young, 4900 Historical Woodwind Instruments, p.197. 34 Heyde has suggested that Carl Wilhelm Sattler is the likely maker of the Sattler bassoon in Leipzig. See Heyde, Rohrblattinstrumente, p.424.

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Sattler or his son Carl Wilhelm Sattler was the Hautboistenschule in Potsdam (established in 1724 original maker of the Hirschstein bassoon.35 by Friedrich Wilhelm I),37 and the Ecole de Musique de la Garde Nationale in Paris (established in 1792 GERMAN MILITARY MUSIC by Bernard Sarrette). In 1795, this Ecole became the Having given a brief description of the systemConservatoire of Nationale de Musique.™ the manufacturing of wind instruments during In order this to get a sense of just how large the military period and having given an example of a contract market forwas at this time, the states of Prussia and a substantial order of bassoons, the question Saxony of who may serve as examples. While the number purchased all these bassoons remains. To whomof troops did employed by the two states fluctuated Johann August Crone expect to sell 64 bassoons,somewhat during the second half of the eighteenth and how does this relate to why Hirschstein century, most at about the time of Hirschstein's death in likely contracted a maker to make the bassoon1760 there in were some 74 regiments in the Prussian question? In the eighteenth century there and Saxonwere armies that contained Hautboisten.39 This two categories of ensemble in which the suggests majority a total of approximately 148 bassoonists in of bassoons were employed: orchestras and regimental bands. bands in these two states alone. With At first, one might think that all these numbers bassoons such as these, it is clear that military manufactured were intended to be played ensembles in court alone could account for the contract for orchestras. But if one looks into the numbers of 64 bassoons. In addition, Leipzig was a garrisoned bassoons needed to supply bands, one will soon city and there is evidence that instrument-making discover that it was probably for wind bands that thecentres tended to be concentrated in cities with a majority of the bassoons were produced. large military presence.40 Thus the market for mili There were two very popular wind ensembles tary instruments partly explains both the important in German-speaking regions during the second instrument-making industry found in Leipzig and half of the eighteenth century, the Harmonie andwhy we have evidence of these instruments being the military band or Hautboisten. Both had more made by independent makers, then being sold and or less the same instrumentation: pairs of , shipped all over Europe using the business model , horns and bassoons. Before the military described above. band became a standard feature of the infantry regiment, the expense of the band was borne WASby THE HIRSCHSTEIN BASSOON MADE FOR the commanding officer, often the colonel of THE a MILITARY? regiment, and the instrumentation varied. In 1763, Were bassoons intended to be played in the Friedrich II (the 'Great') standardized the Prussian military ensembles made differently, and did they military band with the instrumentation of two incorporate any unique features that those played oboes, two clarinets, two horns, and two bassoons; in court orchestras did not? Although not certain, this instrumentation remained the norm until the the Hirschstein bassoon has some features that end of the eighteenth century, when additional suggest it was intended for military use. A military clarinets and brass were added.36 Two examples of bassoon could either be made less expensively than schools that trained military musicians attest to the a bassoon intended for normal use, or it could be popularity and importance of military music: the made for more rugged service, using more time

35 Young has suggested that the Sattler bassoon preserved at the Ringve Museum in Trondheim, RMT 75-2 is by Johann Cornelius or Johann Gottfried Sattler. See Young, Loan Exhibition of Historic Double Reed Instruments, No. 58. 36 Clifford Bevan, Bram Gay and Anthony C. Baines, 'Band', The New Grove Dictionary of Musical Instruments, 1, p.123. 37 Bernhard Hofele, 'Militarmusik', Die Musik in Geschichte und Gegenwart, 2. neubearbeitete Ausgabe, edited by Ludwig Finscher (Kassel: Barenreiter, 1994), 6, p.275. 38 Janet K. Page, 'Band', The New Gove Dictionary of Music and Musicians, 2, p.624; and Edmond Neukomm, Histoire de la musique militaire (Paris: Librairie Militaire de L. Baudoin et Ce., 1889), p.20. 39 Saxony had 12 infantry regiments that maintained Hautboisten; Prussia had about 50 infantry regiments and 12 regiments of Dragoons. See J. M. Baron de Helldorff, An Historical account of the Prussian army and its present strength to which is added a succinct account of the army of the elector of Saxony (London: T. Harrison and S. Brooke, 1783), pp. 37-61 and p. 131. 40 According to Baron HellforfF, Leipzig was a garrisoned city, with the 9th Saxon Regiment posted there. See J.M. Baron de Helldorff, An Historical account of the Prussian army, p.131. My thanks to Denis Watel for pointing out the correlation between important instrument making-centres and important military garrisons.

This content downloaded from 134.161.122.50 on Mon, 02 Jul 2018 22:51:50 UTC All use subject to http://about.jstor.org/terms The Galpin Society Journal LXIV (2011)

consuming and expensive features. I believe that the on the boot joint, rather than boring two long holes latter is the case with bassoons made for military into the boot the exact size to fix the two brass plates use: namely, that they were made in a more costly of the saddle in a secure manner.45 and sturdy fashion.41 Indeed, this is consistent Lastly consider the bell crown: on the Hirschstein with the production of military wind instruments instrument the brass crown entirely covers the rim in the nineteenth century, which often have extra of the bassoon bell and protects the top of the bell reinforcing straps and guard caps.42 from breakage. Many bassoons do not have a bell First consider the boot joint. While the two-hole crown and many have a tapering bell that becomes turn around design of the Hirschstein bassoon would quite thin at the top of the bell. While the fact that have been more time consuming to make than the the Hirschstein bassoon has a bell crown is not in oblong cork design, the cork is easily lost and difficult itself a rarity, but it does give extra support to the to replace, especially in the field.43 In addition, corks top of the bell, an advantage for an instrument being tend to become dry and brittle, then fall out or leak used in rough service.46 Lastly, there is a brass arm over time. I believe that the two-cork design would connected to the bell that is probably the remnant of have been a better system for long term or rugged a music support lyre.47 use 44 In addition, it is possible that the maker of the Hirschstein bassoon used a two-piece saddle design CONCLUSION in the hope that it would be more robust that the The Hirschstein bassoon is a unique and important more normal one-piece, i—i-shaped saddle. In the historical artefact. Taking into account the '—'-shaped design, the saddle is fixed to the body of the instrument's unusual features and the very large instrument using a single screw. If this type of saddle numbers of bassoons required by the Saxon and were hit reasonably hard (by another instrument Prussian military during the eighteenth century, while on the march, for example), the saddle could I have postulated that the Hirschstein bassoon fall off and be lost. By contrast, the two-piece design, was fabricated for military service. In addition, the with the entire length of the brass saddle forced discovery of this instrument opens up new avenues of down into the wood of the boot, would be much less research, notably in the area of the military bassoon susceptible to damage. In my opinion, the two-piece in the eighteenth and early nineteenth centuries. saddle design was not done to save time and money. The Hirschstein bassoon could play an important It would have been easier to fit the i—i-shaped saddle role in such future research.

41 The cost of a bassoon, or, for that matter, the eight-piece band of a regiment, would have been miniscule compared the cost of maintaining the regiment itself. See Helldorff, A Succinct Account of the Manner in which the Prussian Army are provided for in times of War and Peace', in An Historical account of the Prussian army, pp.112-19. For example, every soldier, from general to private, received a new uniform each year and each day was provided with two pounds of bread; non-commissioned officers and privates received one pound of meat every other day. Helldorff does not mention the cost of arming the regiment, but taking into account that there are about 2200 men in a normal infantry regiment, the cost of a bassoon would have been miniscule in comparison. 421 am grateful to Dr Bradley Strauchen-Scherer for this information (personal correspondence). 43 The two-hole turn around design of the Hirschstein bassoon would have been more time consuming to make, since the wood below the septum and between the two bores would have to be carved out using tools inserted in the two holes at the bottom of the boot. 44 It should be stated that oblong cork design became the standard later in the eighteenth century. However, I have seen two bassoons by Johann Heinrich Grenser, active in Dresden during the period 1796-1817 (Museum fiir Musikinstrumente der Universitat Leipzig, nos. 1386 and 1387) and Winckler of Leipzig (Paris, private collection) with the two-cork system. See Waterhouse, The New Langwill Index, p.145. 45 However, because of wood shrinkage, many of the brass plates did fall off: of the four instruments with the two piece saddle design (the Hirschstein; the Sattler in Leipzig; the Sattler at Ringve; and the Crone in Nuremberg) 15 plates are intact and nine are missing of the original 24. 461 am aware of the following bell crowns that cover the entire top of the bell: the Hirschstein; both the Crone and Kraus bassoons preserved at the Germanisches Nationalmuseum, Nuremberg (nos. MIR 409 and MI 373 respectively); and a Scherer bassoon preserved at the Metropolitan Museum of Art, New York (no. 89.4.886). 47 There are other examples of music holding devices or lyres, but these are all found on bassoons made later in the nineteenth century.

This content downloaded from 134.161.122.50 on Mon, 02 Jul 2018 22:51:50 UTC All use subject to http://about.jstor.org/terms Colour Section 179

DAVID RACHOR

A Bassoon by Hirschstein

Figure 2. Brass arm on the bell of the Hirschstein bassoon (photo by the author).

Figure 1. Bell rim of the Hirschstein bassoon (photo by the author).

Figure 4. Bottom of the boot joint of the Hirschstein bassoon (photo by the author). Figure 3. Remaining plate of the two-piece saddle and A-flat key spring on the boot joint of the Hirschstein bassoon (photo by the author).

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