Issue 5, Page 2 and Progressively Cut Off Short Strangely, Crotalis I Is Hard to Sections of Its Neck Until the Pitch Hold

HISTORIC BRASS SOCIETY NEWSLETTER News, Views, Notes and Comments for Members and Friends of the Historic Brass Society

Issue Number 5 ISSN - 1045-4594 Summer, 1993 Stewart Carter, Executive Editor, Jefiey Nussbaum, Managing Editor, Karen Snowberg and Bany Bauguess, Production; Martha Bixler, Anne Bonn, Sandra Coffin, Michael Collver, Peter Ecklund, Douglas Kirk, Richard Seraphinoff, Jefiey Snedeker and Chris Whitehead, Associate Editors. Historic Brass Society: Executive Committee: Jefiey Nussbaum, President; Jefiey Snedeker, Treasuter, Karen Snowberg, Secretary; Linda Klein and Ben Peck. Board ofDirectors: Stephen C. Anderson, Stewart Carter, Alan Littau, Jefiey Nussbaum, Ben Peck, Keith Polk, Jefiey Snedeker, Karen Snowberg. Board ofAdvisors: Michael Collver, Allan Dean, Bruce Dickey, Ralph T. Dudgeon, Stephen Escher, Douglas Hedwig, Trevor HerM Fred Holmgren, Douglas Kirk, Craig Kridel, William G. Mathews, Viola Roth, Richard Seraphinoff, Crispian Steele-Perkins, Robert Stibler, Edward H. Tarr, and Chris Whitehead. Q Copyright 1993. The Historic Brass Society Newsletter is published annually by The Historic Brass Society, Inc. CONTENTS Page HBS Financial Report...... -2 Crotalis I: Serpens in Desertis - John R. McCann ...... 2 Gottfried Reiche: Twenty-four Quatricinia Rediscovered - Holger Eichorn ...... -4 Reiche Transcriptions by Holger Eichorn ...... 6- 10 A Brief Report on the State of Affairs at the Christopher Monk Workshops -- Jeremy West & Keith Rogers...... 11 I'm Almost Shore It's Snow! -- David & Julie Edwards ...... 13 Constructive Research - John Webb ...... 14 Classified Section ...... 14 & 21 Meet Your Maker: A Round-Table Discussionhterview ...... 1 5 The '4pprato musicale (1613) of Amante Franzoni - Bruce Dickey ...... 2 1 Franzoni Transcriptions by Charles Toet ...... 22-28 The Side Embouchure - Yoshimichi Hamada ...... 29 Conference of Early Music Societies -- Stewart Carter ...... 3 1 Music Reviews ...... 32 Recording Reviews ...... 37 Book Reviews...... 47 News of the Field ...... -49 Ninth Annual Early Brass Festival ...... 65

PRESIDENT'S MESSAGE

A recent vacation to the WK gave me the opportunity to meet with some old friends and make new ones who share my love of early brass instruments and interest in the HBS. It was extremely gratifying to see that the HBS has helped to create this sense of community and that the HBSM and HBU provide a forum for shared ideas and experiences. Of course, the UK has a rich musical tradition and is a wonderful place to indulge one's interest in historic brass music and instruments. I took the opportunity to do just that, spending a solid week meeting early brass folks and playing such instruments as the Chst Church cornetts, trumpets by Haas, Bull, Hams, and Beal, as well as a host of other early horns. It was a real joy to see the appreciation people had for the HBS and to share in the camaraderie and friendship that stems from our common interest. Thanks go to Crispian Steele-Perkins, David Edwards, John Webb, Jeremy West, Keith Rogers, Frank Tomes, Chris Larkin, Stephen Wick, Arnold Myers, Jeremy Montagu, Simon Carlyle, Ray Parks, Susan Smith, Murray Campbell, and Trevor Herbert for their warm generosity. Meanwhile, back at the ranch, the HBS continues to grow. We had over 600 paid members last year, the last HBSJ was a great success, and we have plans for a wide range of articles in future issues. The Early Brass Festival #9 at Amherst (July 30-Aug. 1) is all set, and this year in addi- tion to the usual activities for cornetts, sackbuts, natural horns, and trumpets, Ralph Dudgeon has planned many activities for 19th-century brass as well. You are the early brass community, and the HBS provides a forum for you. Please let us know your views, and let us know about your early brass activites. If you value the work the HBS is doing, consider sending in a contribution along with your annual dues. (The contribution is fully tax- deductible.) Also, if you are affiliated with a school, ask the library to subscribe. We need your help to continue this good work. Last but not least, a note of thanks is due to all the contributors, Advisory, Editorial, and HBS Board members for all the work they've contributed, and of course, to the HBS membership. Special thanks to Karen Snowberg, Barry Bauguess, and Jeff Snedeker for the many hours they have spent in making the HBS a success. I hope to see you at Amherst. Jeffrey Nussbaum President, 1 Iistoric Brass Society

The Historic Brass Society - 148 W. 23rd Street, #2A - New York, NY 10011, USA - Tenax (212) 627-3820 - E-Mail [email protected]'.COM Notice of Annual Meeting John R. McCann The annual meeting of the Historic Brass Society, Inc. will be conducted at 4:00 PM, Saturday July 3 1, 1993, at Amherst College, Those of you who wondered what happened I then carved the bore of the headless Amherst, Massachusetts. Plans for the to the snakes which Saint Patrick drove cornett. It was more difficult than a normal direction of the Historic Brass Society will from Ireland should not be surprised that the curved cornett because of the tight curves in be discussed. descendant of one of them turned up in the the bore and the problems caused by carving workshop of a Sandy, Utah, cornett maker across the grain at the curves. To make a of Irish-German descent. long snake story short, everything proceeded as with a normal cornett albeit more slowly. Wanting recreational respite from carving The cornett was profiled, diamonds carved HBS FINANCIAL REPORT, normal curved cornetts, I decided to make on the tail, and rattles carved on the mouth- COVERING ACTIVITIES an instrument in the form of a slithering piece socket. (Readers are invited to fami- OF THE FISCAL YEAR 1992 snake, something that would not have been liarize themselves with my article, "Snakes, Jan. 1,1992 - Dec. 31,1992 uncommon in the 16th or early 1 7th cen- Trees, and Flames," which appeared in turies when shawrns, cornetts, and recorders Volume I of the HBS Journal. In it I point Opening balance $1,399.11 paraded around as dragons, snakes, dol- out that the cornett was used to symbolize (funds on hand, 1/1/92) phins, and other fanciful creatures or the underworld and my belief that the objects. Paris #582, a high-pitched instru- diamonds carved on the mouthpiece end of Revenues ment in A (six-finger note), served as the the instrument represent reptilian scales.) Earned direct inspiration. I had traced the pattern Membership dues, while visiting the conservatory museum in Following the above, the bore was oiled and Library Subscriptions 11,029.00 1983. It served as a general departure point. Advertising (HBS Journal) 640.00 allowed to dry. Overall pitch was deter- The leather of the instrument, which is Back issues sales mined by playing the instrument sans (Journal & Newsletter) 3,725 .OO Italian, is elaborately tooled but the bell, a fingerholes and cutting off short sections of snake head, is rather simply profiled. I the bell until overall pitch was correct. The Unearned wanted an anatomically correct rattlesnake length was comparable to a curved cornett, Contributions 3,291 .OO head at the bell, correct slither curves, and a so fingerholes were tentatively laid out in Total revenues $18,685.00 rattle at the mouthpiece end. A visit to the the normal positions. The lowest was drilled local library by Kimmie, my wife and first and when that one proved successful, Expenses sometime bore (bored?) sander, yielded an the others were successively dnlled at their Printing & production costs armful of books on reptiles and snakes, even usual locations. Overall pitch was rechecked (Journal & Newsletter) $6,094.09 one devoted exclusively to rattlesnakes. as the closed fingerholes, which are acous- Postage 4,434.69 There are almost 30 different species in the tical side vents when open, lower the pitch Photocopying 2,687.20 rattlesnake family, or Genus Crotalis, and I by increasing the volume of the bore. Supplies 2,742.69 learned from the books and God-fearing, Telephone charges 592.00 snake-wise friends that they don't all slither Since there was a loose snake head in the Early Music America the same. My personal favorite is Crotalis workshop which had to be dealt with and membership 60.00 horridus. rejoined to its corpus, I was faced with the Total expenses $16,610.67 problems of how to carve the head and how In the interests of symmetry and ergonom- to deal with the acoustical problems arising ics, I decided upon even slither curves. The Net Fiscal Gain $2,074.33 out of its very existence. I first carved the tentative bore length was the same as my outer part of the head and then split the Closing balance $3,473.44 normal curved cornett plus a bit extra for head, which had only been spot-glued (funds on hand, 1213 1192) good measure and a head. I wasn't sure what together, into upper and lower sections. effect the convoluted shape and the head This enabled me to carve out the inside of -Jeffrey Snedeker, Treasurer would have upon the air column. The slither the two parts and produce a realistic mouth. Historic Brass Society, Inc. curves were placed to correspond to current The insides were sharply flared where the woodwind hand positions --upper left, lower neck joined the head. The idea was that the right. Bore and instrument templates were flare would result in its location being the made. Top and bottom sections were cut end of the bore. This done, the head was with the bandsaw. Not knowing how long glued back together. the instrument had to be, and not wanting to damage the head, the first thing I did was to To regulate the pitch of the whole snake, I decapitate the snake and set its head aside. attached the head to the body temporarily

HBS Newsletter, Issue 5, Page 2 and progressively cut off short Strangely, Crotalis I is hard to sections of its neck until the pitch hold. Although I thought I had was correct. The snake's head was designed it ergonomically, it wants then glued on permanently. The to slither down to the right overall length of the instrument (clockwise from the player's from rattles to the flare inside the perspective). A sterling silver mouth is virtually the same as that thumb rest has partially alleviated of my normal curved cornett. the problem.

Covering the instrument with The construction of Crotalis I has leather was next. When covering encouraged another instrument an alto or tenor Lysarden, I maker, Boston's Friedrich von ! normally invite all people to leave Heune, to think about putting the workshop as the task is very Crotalis I slither curves in his latest creation, tricky, and the air turns expletive the world's longest Renaissance blue. Apparently my previous It's fascinating what emotions Crotalis I contrabass recorder, so that the I practice had prepared me for the task, and I evokes in others. It is rather realistic and two instruments may be used for visually was able to cover the curves of the people are either fascinated or repelled by harmonious duets. slithering snake using my normal technique. it. There is no middle ground. Anyone interested in adopting Crotalis 11, Once again the head presented a special . Lest readers believe that Crotalis I was HI, or Iv should contact the appropriate problem. My solution was to cover it agency, Saint Patrick's Runaway Reptile made for rodent control or to grace some I separately using two pieces, one for the collector's wall, they should know that it is a Relief Society. Snake and serpent bands i upper part and one for the lower part. fully functional cornett with a range from a may be the next early music rage. On the Getting the leather to fill in depressions and to a2 . Crotalis I made its world premier on other hand, my aspirations may be scaled yet stretch where needed was a real January 25, 1 992, in a concert by the down to produce Crotalisa I, a curvy challenge. The inside of the mouth was Antiquarian Funks, a fun-loving West Coast snakeskin covered cornettino. That rattler in painted red. A sterling silver forked tongue Renaissance/ Baroque ensemble directed by the freezer is awfully tempting! 1 was attached. A visit to a local taxidermist cornettist Bill Mathews. The piece was the produced life-sized glass rattlesnakes eyes ritornello in Francesco Usper's Symphonia and a frozen rattlesnake from the freezer. I prima a 8 (1619). thanked him kindly, bought the eyes and let him keep the frozen snake. (I don't know if he was pulling my leg or not, but he claimed that once when he thawed out one of his frozen rattlers, it came alive).I do not like snakes; I especially do not like rattlesnakes. Said my friend, the cornettoist, Whitney, "rd a terrible dream, pray permit me - ~ I misplayed on my zink And what do you think, It grew into a serpent and bit me."

We thank David Goldstein for his kind permission to reprint this limerick (as well as others whch are dispersed throughout this issue) from his book hfusical Limericks (Pub. Provincetown Bookshop Editions, Provincetown, MA, 1986.

We also wish to thank John Webb for providing us with further cartoons in I addition to those we have used from his book Trombamania (Pub. Editions Biin, Yamaha Modification CH- 1630 Bulle, Switzerland) 444949499~99QGCQGeQGeQ 1

HBS Newsletter, Issue 5. Page 3 Gottfried Reiche: Twenty-four Quatricinia Rediscovered

by Holger Eichorn

(Translatedby Richard Seraphinof& YiolaRoth) In the early 1940's, the arrogant German obtained evidence of the whereabouts of the military leaders believed that victory was in music with which we are concerned. Everyone has heard the foolish story of the their grasp. However, many establishments, Rumors then began spreading throughout person who runs head first into a wall again including the Preussische Staatsbibliothek, England and from there to the USA and and again and each time groans contentedly. cautiously began to place valuable art works Germany. In any case, it appears that the When asked why he does this, he answers and cultural treasures in storage in order to musicologist Christoph Wolff was one of the that it feels so good when the pain stops. protect them from the bombing, which was first to see this fantastic new fmd personal- Surely this metaphor is almost as far more severe in the cities than in rural areas. ly, at the end of the 1970's. And no later removed from the subject at hand as that of In many cases this process was successful, than 198 1, Wolfiam Steude, to whom the the prodigal son, who upon his return is in others, not at all. For a good thirty years, author is indebted for information and hghly honored and respected, precisely a portion of the Staatsbibliothek Music microfilms of these well-protected treasures, because he has been gone so long and was Collection, which can now be seen and began to describe and catalogue the music. so sadly and grievously missed. Indeed, it is admired in the Jagiellonska-Bibliothek in much the same with the loss of an art Krakow, was considered to be lost. In 1940- This chance adventure has restored to us, treasure, work of literature, or musical rarity 4 1, some of the holdings of the Staatsbiblio- among countless valuable treasures, two that has always been passed from one thek were gradually moved out of danger. outstanding collections of Baroque music generation to the next, but is sadly lost and Those under discussion here were removed that are of great importance to brass players. then unexpectedly comes to light again. In to Ftirstenstein Castle near Waldenburg, in One of these is Johann Vierdanck's Ander such a case, one appreciates the returned what was then known as Silesia (now part Theil... Capricci, Canzoni und Sonaten for item much more than if one had always had of Poland). two to five instruments (mostly cornetts and it. trombones), published in Rostock in 164 1. This was done just in time, because in 1943 A detailed account of this important Searching through the literature in libraries the first serious allied bombing struck the collection must await another occasion, as and in catalogues can only make our mouths Berlin Library. By the end of the war this the principal focus of this article is the water as we read of rare or unique items lost music had been moved again, for unknown Quatricinia of Gottfried Reiche. because of war. But just as many people reasons--this time to the nearby Griissau who were thought to have been casualties of Cloister in Silesia, an important former Reiche was born in 1667 in Weissenfels, a World War II have resurfaced years later, so Cistercian cloister with its own tumultuous city with a notable tradition of brass many long-lost cultural treasures have also history. A magnificent Catholic Baroque playing. In 1688 he went to Leipzig as a suddenly come to light. Often they come structure, it was rebuilt in 1660 and, after a Stadtpfefer's apprentice, where he attained from mysterious sources-one is reminded of prolonged period of secularization begin- the rank of Kunstgeiger in 1700. He was the Quedlinburger Domschatz and many ning in 18 10, was newly occupied by the promoted to Stadtpfefer in 1706 and others. So when a composition--or, as in the Benedictines in 19 19, who remained there became the leader of this group in 1719. It present instance, an entire collection--is until their expulsion in 1946147. With the was also in Leipzig that he died in 1734, of actually rediscovered, it is cause for great disappearance of the monks the trail of the over-exertion, it is said, after playing the excitement, especially when the lost work music of the Berlin Library was also lost, highly difficult first trumpet part of Preise represents the only preserved example of its and so the situation remained for decades. dein Gliicke, gesegnetes Sachsen (BWV genre, as is the case of the Tower Music of With the horror and confusion after the end 2 15). From this work one can deduce Gottfried Reiche. of World War II, there certainly were other something of his marvelous technique (and problems to solve besides the exchange of at age 67!) and also of how seriously J.S. This collection of fugues and sonatinas for cultural treasures. Only in the 1970's did the Bach viewed Reiche's death, because in the brass quartet was among the many unique fog begin to lift, and light begin to shine, second version of the same piece -- the and important works in the valuable because of chance rumors and leaks of Osanna from the Mass in B Minor - the holdings of the Music Division of the information. trumpet parts are considerably de-empha- former Preussische Staatsbibliothek in sized. Reiche's skill in bending the notes of Berlin. The story of where it has been, its Here the story, which today stands close to the overtone series and his considerable involuntary travels, and its eventual its happy conclusion, begins to take on range undoubtedly inspired Bach to write rediscovery is enough of an adventure to curious aspects. A British biologist, drawn the imaginative and difficult clarino parts in warrant at least a brief account here, until by his research to look for important 17th- his cantatas and oratorios. But because he such time as a careful and thorough century documents in Warsaw, but unable to was the leader of the Stadtpfeeifer (the examination can be undertaken. find anything, received a tip that he should highest musical office of the city), it was search in the Biblioteka Jagiellonska in taken for granted that he also played the slide trumpet, horn, trombone, and cornetto Krakow. Purely by chance, he there I

HBS Newsletter, Issue 5, Page 4 (this last instrument, for example, is in at 2. Fugue (predominantly free near the end individual pieces demonstrate extraordinary least twenty cantatas of Bach). It was his of the piece, with occasional thematic originality not found in other wind music of responsibility to provide the daily Abblasen reference) / free coda with broad that period. To be sure, we can find slow- from the top of the town halls or towers. For cadence, Nos.4, 1, 17 fast-slow patterns and dance rhythms within this purpose he published the Vier und 3. Fugue / dance movement No. 18 preludes and fugues in the works of Pezel, zwanzig neue Quatricinia in 1696. (An 4. Fugue / free adagio (with hidden Speer, or Storl. But Reiche's deeply sensi- suggestions of the fugue's themes) earlier collection--the forty sonatas for two tive and passionate adagios (for example, / dance movements, Nos. 12, 14, 19 cornetts and three trombones--is now lost.) nos. 19m, 12m, 8/I, 3/I) are unique, with 5. Fugue (free cadence) / dance / free adagio / dance No. 13 their beautiful melodies, sparkling harmon- Reiche's Quatricinia, soon to be published ies, rich dissonances, and expressive leaps The pieces called "sonatina" begin with full- by Concento Verlag (Berlin), must be of diminished intervals. Another of Reiche's voiced homophony instead of imitation, but considered one of the great gems of serious specialties is the interpolation of virtuoso the opening passage is customarily followed ensemble music for winds of the early part solo passages within fugues. A worthy by a fugal movement. Usually these of the 18th century. Following Matthew example of the latter type is the bass sonatinas conclude with a non-fugal Locke's Coronation Music for His Majesty's trombone solo in no. 10, followed by a solo movement. This is accomplished either by Sagbutts and Cornetts (166 1 ), and the Hora for cornetto in which the rather weak fugue means of a final cadence broadened to a Decima ( 1670) and Fiinff-stimmigte theme functions as an accompaniment coda, or by the resolution of the fugue in an Blasende Musik (1685) of Reiche's figure. This idea is exemplified even more expanded "working out" (with parts of new predecessor Johann Pezel, and contemporary markedly in no. 16, with its virtuoso bass motives). In no. 20 hunting motives intro- with the six sonatas of J.G. Chr. Storl of trombone part. The same beautiful effect duce a quasi-fugue in the beginning of the Stuttgart, Reiche's Quatricinien can claim a appears here: connected dialogues between second movement. If one interprets the non- special status because of their relatively alto and tenor, then soprano and bass, with fugal sections as quasi-sonatas or quasi- complex form and refined compositional the fugue theme always present but hidden. preludes, the following sonatina types style. These compositions are in effect Also noteworthy is the beautiful chorale result: musical miniatures, ranging in length from arrangement in no. 24, which ends the I. Prelude and fugue, Nos. 7, (8), 15, (20) twenty-two measures (no. 24) to sixty-five collection. Here the chorale melody, Allein 2. Prelude and fugue with coda, Nos. 3,8, (no. 8), and in duration from one to barely Gott in der Hdh sei Ehr, is concisely (pedal point / cadenza), 9 (dance-like three minutes. As beautiful and charming as section), 10 presented. any single piece may be, a critical 3. Prelude / fugue / prelude (shortened da Only the charming final dance movements inspection of the entire collection with capo), No. 1 regard to invention, form, and elaboration remain to be mentioned. There is a 4. Prelude / fugue / spun-out resolution reveals certain weaknesses. considerable range of expression here: firtspinnende Auflosung), No. 16, (24, Reiche serenely contrasts the grave with fugal passages) Even the accepted division of the collection chromaticism of no. 12, the restrained Reiche's fugues reveal a certain awkward- galliard and the demanding fugue move- into fourteen fugues and ten sonatas appears ness. Thematic entries are sometimes ments in no. 19, and the liveliness of the problematic. They are almost all fugues--or, disguised through fragmentation, and swift sarabande in no. 14. more precisely, almost all pieces containing countersubjects are occasionally incomplete. fugues, more or less carefully worked out. The sixth fugue is one of his better ones, The importance of Reiche's Tower Music- The principal distinction is that the so- however. It begins with a typical four-voice ultimately entertainment music in the best called "sonatinas" are fugues with contrast- exposition, followed by an episode that uses sense-consists in its reflection of the high ing prelude-like sections, while those the countersubject, then a large exposition art and reputation of wind ensembles, which designated "fugue" closely follow the in the parallel minor key. The next episode in the 16th and 17th centuries dominated customary definition of the term. Only about is largely dominated by a virtuoso bass sacred art music. The polyphony of motets one-hrd of the pieces are in fugal style trombone solo, while the closing exposition and masses finds here a late reappearance. throughout. In many of these we find that at in the tonic key includes a postlude based This rediscovery may help to promote a the end, in the last third, or even as soon as on the countersubject. better understanding of this magnificent the middle of a particular piece, the fugue wind tradition in our time. With his Vier section is either resolved in free counter- Some of Reiche's more interesting subjects und zwanzig neue Quarticinia, Gottfried point or properly concluded, in order to of fugues and prelude-sections appear to Reiche has left us an important document of continue with a contrasting section-an have been derived from other composers, a once-blossoming wind tradition. We must adagio coda, a dance movement, or a e.g., no. 9JII (compare Frescobaldi, canzona be grateful and rejoice that we have them combination of the two. The compositions 29, 1608) and no. 13m (Pohle, Sonata, ca. again and learn much from them. may be classified as follows (parentheses 1660). A thorough search of the literature indicate partial compliance with the might well reveal further borrowings. It is Holger Eichorn is a noted cornetto player indicated form): still true, however, that we find in Reiche's who directs the ensemble Musicalische 1. Fugue (exclusively), Nos. 2, 5,6,2 1, Quatricinien a fine example of a musical Compagney. He also teaches musicology at the Hochschule der Kiinste in Berlin. (23) style that had earlier blossomed but subsequently came to an end. Some (Note: 3 pieces from this collection follow.)

HBS Newsletter, Issue 5, Page 5 - . I

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A Brief Report on the State of Affairs at the Christopher Monk Workshops by Jeremy West and Keith Rogers

It is important, first of all, to explain how I stopped doing so, as far as I could tell. The Clearly, the move itself and the ongoing i became involved with Christopher Monk's last time that I saw him he appeared to be project could not be achieved solely by me, I workshop. Of course, like all cornett players on the mend. and a team needed to be assembled. of my generation, I was aware of Nicholas Perry, instrument maker and Christopher's work well before I took my His untimely death left behind a host of cornett player, was the first to join. Without first steps in playing the instrument. Living questions unanswered, many of which we his strength and support, as well as his in England, it was easy for me to visit Stock are still unraveling to this day. I never technical how-how, the continuation would Farm, where Chstopher worked on his stopped to consider whether it would be have been unthinkable. Graham Macey, instruments for some twenty-five years. He wise to carry on the workshop, just did so as who assisted Christopher for years in the was most supportive and encouraging to me though it were a foregone conclusion. This workshop, was the only person who as 1 grew more interested in the cornett. is probably just as well, because had I understood how to operate the wonderful However, it was not until January 199 1 that reflected in a logical fashion what lay ahead Bridgeport automatic copy mill, more of Christopher asked me to visit him at Stock of me and taken sound professional advice which below. Peggy Clark, another assistant 1 Farm because he had "something which he on the subject, I would probably have put an of Christopher's, was able to pass on much wanted to discuss." He asked me on that end to the work there and then. For valuable information about the resin side of I occasion if I would be interested in working financial reasons we were forced to move the operation. Keith Rogers, my father-in- with him at Stock Farm and then, in the out of Stock Farm, something that I law, joined us full-time in April 1992 and ~ course of time, taking over the business struggled against tooth and nail because of Kathryn, my mother-in-law, joined part-time from him. This was completely unexpected, all the implications of uprooting a tiny but in the summer. My wife, Naomi, packs the and I was as keen to start as I was flattered surprisingly complicated cottage industry. I instruments for shipping, as Chstopher's that he should ask me. What I also did not could write a whole chapter on the subject wife always did. Here her training as a I expect was the next communication, which of finding new premises. Suffice it to say, display and shipping packer at Harrods was a telephone call from Christopher early here that it took two whole months after comes into full swing and, with the majority I one Saturday morning only two weeks after hopes of remaining at Stock Farm had faded of our instruments going overseas, hers is a this meeting, the gist of which was that he before I finally made the decision to move to vital contribution. Keith needs an introduc- had been to see a hospital consultant who our current location. I knew the right tion. He had been living in Belfast for had told him that, on account of cancer, he workshop the moment I saw it for the first twenty-three years prior to leaving his life of should not expect to live beyond the coming time! (And I had looked at loads of them.) recorder making and class-room teachmg for Christmas. He died actually only five At Stock Farm, Christopher had 2,000 Christopher Monk Instruments, as the firm months later, in July. square feet of workshop space. This may or was by now known. From head of music at a may not mean much to the reader, but it will grammar school to full-time instrument The remainder of the phone call, short and mean something to everybody when I say maker in London was one jump; from memorably shocking, was to ask me how that the new space was to be 600 square recorder to cornett and serpent was some- soon I could start. I was down there first feet. Christopher had warned me in our thing again! I have to say that his success in thing Monday morning. Having no idea that conversation that, should I have to move the making particularly the latter transformation time would be so short, I started work (and workshops away from Stock Farm, the has been beyond my wildest hopes; our new this was my first workshop experience) on commercial pressures of the outside world instruments I believe are favorably the resin instruments, with plenty of help would make life all but impossible, hence comparable to any. So it is that CMI and guidance from the master, who was the small premises. Everybody has his or remains a family business, even if it is not working in the next room. It was a her faults and I think that Chstopher's the same family! miserably short time before, in order to have main one, certainly as fa.as I am concerned, my many questions answered, I had to walk was that he seemingly never threw anything The main input to the business comes from over the driveway to the house and speak to away. In the workshop after he died we Keith Rogers and myself, with the Christopher, who was in his armchair in could find anything from empty yogurt combination of player and maker offering, I front of the fire, the best place when his cartons (These can be quite handy, you believe, a strong partnership ("try this, blow health was up and down from day to day; know!) covered in the dust of ages, to the that," etc.) Almost my first objective, once visiting was possible but conversation was original models and castings for all the resin we had moved and gained some semblance particularly tiring for him. The extraordin- instruments, including prototypes. What of order in the new workshops, was to ary thing was that there was always hope, could we afford to throw away and what restore production of the resin cornetts and right up to the end of the time when I was was necessary for our survival? How much to get them as good as they ever were as able to see him. That is to say, we were need we tluow away in order to get into the quickly as possible. Here my lack of always hoping and Chstopher never new workshop? workshop experience was a draw-back at

HBS Newsletter, Issue 5, Page 11 the beginning, but being able to play was quickly and reliably than could possibly be and we are very excited by the results. the simple but useful weapon I had in my done by hand. (There surely cannot be a Based on the same originals as the resin SM favor. I blow and tune every single cornett more labor-intensive instrument than the model, our cornetts in rock maple, pear, that leaves us and am pleased to say that of serpent; I cannot imagine that it was apple, boxwood (and other timbers at the 160 resin instruments which have been commercially viable in the 18th century!) special request) are bored out on the sent out in the last fiAeen months, only one 2. It enables us to duplicate the bores - Bridgeport; the bore is then finished by has been returned (with a slight hairline particularly of cornetts - to the tolerances hand to a high standard, and the octagonal crack in the top end which somehow slipped necessary for consistent playing results, exterior shape and the diamonds are cut by the net.) With Keith's arrival in April we surely the aim (or perhaps the dream) of hand, resulting in a thinner-walled needed to set about the serpents and to cornett-makers especially. instrument than formerly. develop a new model of wooden cornett. The serpents appear to have come along The first urgent priority at the beginning of The third major project upon which I have brilliantly over the last nine months, with May was the production of a number of been engaged is the preparation of the very happy customers and pleasing serpents - that is, the Serpent d'Eglise, a English military serpent that Christopher comments from other players. (These I model substantially the same as the one promised to develop for so many years, but cannot and will not play, but Nicholas Peny Christopher had been making for some was never able to complete amidst his tunes and checks them all.) For me the new years. When he died, he was planning some multifarious tasks and commitments. ns wooden cornett has been the most exciting slight improvements to the bore, as a result instrument is now ready and just going into development. In the new instrument we of his work on the splendid Anaconda which production. It is a three-key instrument have a cornett that is slirn-walled, light, had with enormous labor been completed based on one by F. Pretty of London, responsive, well in tune, and producing an just before the illness made such work probably built in the late 1830's. even tone top to bottom - that is to say no impossible for him. Graham Macey (who Christopher made a half-size model, but high spcts and low spots. Having at our worked with Christopher on several of the "blowing up" this instrument to full size disposal the above-mentioned Bridgeport Bridgeport projects, and whom we could not using a large pantograph or die-sinker copy mill of course means that we have the have done without, both for his knowledge machine resulted in some very inaccurate possibility to copy the bore very much more of the machine and because of his bore measurements. With much help from accurately than would be possible by hand, imaginative approach to problem-solving) Graham Macey I have more or less made the and consistency from one cornett to the next worked with me on the modifications of the instrument from scratch, going back again to has been good. The ultimate question about C-Serpent bore, and we were able to the measurements of the original, and the this model is whether or not I play on it produce the instruments that were on order current members of the London Serpent myself, or do I put my money where my in time for their rather unusual public Trio have tried the result and pronounced mouth is? The answer, of course, you've appearance in August. The Second Battalion that it works! These instruments, like the already guessed: "Yes I do!" of the Royal Scots Guards hired four of Church serpents, are made of English ---Jeremy West them for a display of an "authentic" band sycamore unless a customer requests some celebrating a 200th anniversary at the Royal other timber. Our cornetts are all, as before, A Brief Report On My Work At Edinburgh Military Tattoo. It was exciting leathered by Reg Dodndge of Plymouth, and Christopher Monk Instruments for us to see them not only being marched our tenor cornetts and serpents, by Nicholas When I arrived at our London workshops to with but actually played for a least one-and- Peny in London. In the next few months I commence working full-time for CMI a-half minutes on television! Once we will be working on the final stages in the towards the end of April 1992, I had one established that we had the correct crook, development of the alto cornett in F, the session of instruction from Christopher we were pleased to find that the bore new wooden cornettino, and the high-pitch himself and two periods of several days' modifications have indeed improved the G cornett. work with Graham Macey on the use of the instrument's intonation. Bridgeport machine. This machine is a --- Keith Rogers copying mill that Christopher bought in Our urgent priority in autumn was to get a 1981. AAer some modifications for working really good wooden cornett into production. in wood, it has been used as the principal One of Christopher's outstanding achieve- tool for shaping the serpents, both inside ments was the development of a resin 4444444*@@@@@@@ and out, and the bores of the cornetts as cornett so excellent that it is acceptable to The cornetto can sound very sweet, well. Of course, that simple sentence professionals. We wished to establish a But carelessly blown it will bleat. conceals the enormous amount of develop range of wooden cornetts that would be of a The tones I have heard ment, experimentation, and learning consistently high standard both physically Range from trumpet to bird required to harness the particular and acoustically, so that players wishing to To rabid soprano in heat. characteristics of the machine, which we move on from a resin instrument would see need for two main reasons: 1. In gouging out them as the natural choice. Some months --- David Goldstein the bore and shaping the outside of a later we have arrived at an instrument 3444444*@@@@@@@ serpent, it enables us to take out an which is visually and musically quite enormous amount of timber much more different from the earlier Monk instruments,

HBS Newsletter, Issue 5, Page 12 I'm Almost Shore It's Snow! by David Edwards and Julie Edwards

You know how little things get on your it, and make replicas of it. I knew the Shore was born in 1662 and lived to the ripe mind and won't let go, so you go on and on pattern on that bauble as well as I know my old age of ninety-one, dying in office in picking away at them like an itch that own hand. That trumpet raised so boldly 1753. "Right!" I said to myself, "He must be doesn't go away? I've been suffering from a was a Harris! That was it! I was hooked. Shore, the date of the trumpet (give or take case of that particular disease for some time Who was this unnamed trumpeter from so a couple of decades) coincides neatly with and thmk I ought to share it around. Several long ago? I had to find out, and the trail has Shore's time as Sergeant Trumpeter." years ago I noticed a reference in the sleeve been long and winding, but I'll try to give notes of a CD by Crispian Steele-Perkins to you the gist of it so far. That could have been the end of the story, a painting of a trumpeter in eighteenth- but then the itch started again. I discovered century clothes and stored the reference Using the trumpet as a starting point I that Shore did not play after 1705 as he split away as being interesting, but not for realized that we were dealing with a date his lip. I suppose the "non-pressure method" immediate action. I heard that it was at sometime after 1715, because John Harris was still a couple of centuries into the Fenton House, a property owned by the made an unmatched pair of trumpets for the future, but he must have been quite a National Trust in North West London, and Mayor of Bristol in that year. The man in character as he retained his post for nearly so was on view to the public at certain times the painting was obviously a person of some fifty more years, organizing teams of of the year, but my time never seemed to consequence, so my next task was to find trumpeters to perform at State ceremonies coincide with their time, so I didn't actually out who were the most important trumpeters and supplying trumpeters for orchestral see the painting. of the time. The two most likely candidates occasions in the London theaters. were John Shore and Valentine Snow, both Then an excolleague, Donwald Burrows of ol' whom held the position of Sergeant So who was he? I got out the photo again. the Open University and the Handel Trumpeter to the Royal Household. John My wife, who sometimes makes historical Society, phoned me one costumes for the evening to ask whether I theatrically-minded, ran a could suggest any artifacts to skeptical eye over it and t include in a forthcoming .) I said, "I think that outfit's exhibition he was setting up quite a bit later than as part of the 1992 Messiah 1716. Look at his wig and celebrations, particularly hat." She produced a huge something to represent The reference book to prove Trumpet Shall Sound. I the point and we deduced remembered the painting and that the trumpeter Donwald arranged to borrow couldn't have been it from the National Trust, so pointed with tied-back it appeared, with a trumpet by wig and tricorn hat Winkins (made in 1750, earlier than 1740. That probably the first brass gave me a new earliest trumpet made in England) in possible date, but what I the exhibition at Pallant needed was a iatest House, Chichester, in summer possible date. As I know 1992. from my own experience in the Household Cavalry, We entered the gallery at the the military uniforms are preview: there it was, visible often archaic in style. across the assembled Checking the Household glitterati - glowing warmly Cavalry Museum (there is under its 200 year-old varnish documentary evidence - an imposing figure in that Snow was in the tricorn hat, white wig, Royal Horse Guards) I splendid coat, a sword by his was told that it wasn't side and a trumpet raised to possible to determine his his lips. Instant recognition Possible portrait of Valentine Snow length of service, as other hit me! I knew that trumpet. The HBS thanks Alastair Laing, Adviser on Paintings; The National Trust; and ranks' service records I'd handled it, or one very like Fenton House (London)for their kind permission to use this photograph. weren't kept before 1800.

HRS Newsletter, Issue 5, Page 13 I tried another angle: "Oh no," they said, around 1700, which makes him a likely he became king. A family letter says that the "that's not a military uniform." Not much candidate. We know that only important picture was part of a gift of furniture and help there. It wasn't a militaxy uniform. so I people were recorded in paint for posterity, effects fiom Windsor Castle, given to the started loohg for other clues. What else so he had to hold a major position; therefore family to furnish Mapledurham House. An could I see in the portrait that would be his wig, hat and sword would be in the inventory of 1845 describes it as "A subject to changes in fashion? What about fashion of the day. I started to think again trumpeter of George I1 by Dahl", but gives his sword? Although it's not a full-length about his coat. I had already found out that no name for the trumpeter. Mr. Laing says portrait the hilt is clearly visible, so I spoke it wasn't a military uniform but thought l'd that my date of 1753 puts the painting too to a friend, Graeme Rimer, who's an official just make sure. I phoned the National Army late for Michael Dahl, but as the attribution in the Armoury at the Tower of London. A Museum and spoke to their expert on is as late as 1845 he's not too sure about few days later Graeme had news for me. medals and uniforms. I explained myself to Dahl's involvement anyway. We also "That pattern hilt came in about 1745," he the helpful woman on the other end of the discussed the rather odd composition of the said, "so it's likely to be around that date. Of line. "Oh," she said, "I know what you painting, which looks as though the frame is course, the richer he was, the sooner he mean. It sounds like Court Musicians' too tight around the subject and feel that it 1 would have been able to afford the latest uniform." That brought me back to Snow. I may once have been cut down and refiamed. style, but you can probably put it at like to think that the portrait was painted on Possibly it was part of a much larger canvas. 175Oish." his accession to the post of Sergeant Until l've followed up a couple of new leads Trumpeter in 1753. I could be fantasizing, it has to remain a bit of a mystery. But then, That clinched it. By 1750 John Shore would but then, what's life without a little as I said at the beginning, "l'm Almost Shore have been in his late eighties and although imagination? It's Snow!" the trumpeter in the paintkg isn't yomg and has, to put it kindly, a "lived-in face, he is P. S. Another scrap of justification for my l'm very grateful to all the people who certainly not that old. So I looked at Snow. theory just came from Alastair Laing, the helped me along my research trail,

We know that Snow succeeded Shore in National Trust's advisor on paintings and particularly Scott Sorenson who generously I 1753. We know that he died in 1770, but we sculptures. He tells me that the painting shared his own research into Sno$s dates. don't know when he was born or how old he came to the N.T. as one of the chattels of was when he died, so it's not possible to the Courts, Holt, a property bequeathed to match hls age exactly with that of the man the Trust by Major Clarence Goff (father of in the portrait. It seems likely fiom facts the harpsichord maker), a descendant of known about his father that he was born William IlI's liaison with Mrs. Jordan before

Constructive Research by John Webb

[Editor'sNote: This essay by John Webb is the time and effort could be put to producing kind of scrutiny and recording. Would it all I first in a series of invited articles by leading new material of permanent value and be feasible, advisable, worthwhile? members ofthe early-brass field, on viable significance that the average playerlmakerl research topics. We hope that these eflorts will, as John Webb stated, help fill the still-present gulfs of organologist/enthusiast doesn't have time knowledge in our field.] for.

We know a lot now about Renaissance and Indices. 19thcentury journals and papers Classified Ads Baroque brass thanks to Baines, Smithers, need indexing. In the U.K. alone, for Tarr, Barclay, Heyde, et al. Yet there are instance, there is Brass Band News (since still huge gulfs in our knowledge of the 188 1), the British Bandsman (since 1887), Wanted to Buy: Trumpets: more recent past. I know much research has the Comet, with annuals (since late 19th French Besson (Brass) 1940-50 been undertaken in the U.S. on Civil War century). These cover just brass bands. (Meehan or Gr. PIX) music and bands, but more needs to be done There are many other journals on music and Olds Recording (Brass) 1940-50 generally: the trumpets and trombones in instruments generally. In the U.S. and (Valves not straight line) early 19thcentury orchestras, for instance, continental Europe there are many more. Conn 22B (Brass) 1940-50 and the differences among mainland The news, ads, and articles need monitoring Selmer Paris or "H.J." 1940-50 (Brass) Europe, Britain and the U.S. The makers, for mentions of all the above. The research- King Silver Bell (Brass) 1940-50 instruments, prices, music, players, practice, er, at the same time, could be doing the bands, etc. This is a plea for an enterprising same job for woodwinds. Result: a reference (H.J. model) university or college to encourage one or work of eternal, if eclectic, importance. Parduba mouthpiece 5 112 Double Star two students to produce theses of long-term Before 1960 (Silver) practical use. So many PhD aspirants simply I'm sure other brass historians have Contact: Dr. H. Reiter, Psychology Dept. collate and regurgitate existing information, suggestions for publications needing this C.W. Post College, Brookville, NY 1 1548, adding nothing new. The same amount of (5 16) 62 1-0620.

HBS Newsletter, Issue 5, Page 14 Meet Your Maker: A Round-table Discussion/Interview

[On August 8th. 1992 the following learned from various instrument makers, of the wedge and there was a lot more to be discussionlintewiew was held during the both modem and historic. I took several written. I began in earnest and started on 8th Early Brass Festival at Amherst College silversmithing classes and I came from a the book. Now that the book is finished (The Amherst, UA. Cornetto maker John family that worked with metal. All these Art of the Tnrmpet-Maker, Oxford U.Press, McCann, horn maker Rick Seraphinofl factors helped lead me from making that 1992), the whole raison d'ktre for doing this Alphorn maker Phil Drinker, tnrmpet maker single F horn to copying instruments in has gone away but I'm still enjoying making Robert Barclay, and trumpet, sackbut, and collections throughout the world. Most of it instruments and I hope I continue doing it. horn maker John Webb were the invited was done because I needed good instru- For me, I truly am an amateur. I don't have participants. Jeflrq Nussbaum and Stewart ments, but since then, other people have to make money doing it as I have a nice, Carter sewed as modem tors]. gotten instruments from me and it has comfortable full-time job. So Fm probably turned into a business. At this point, being a very different from our next speaker. JN*Fd like to welcome everyone and start natural horn player, I can't imagine depend- by asking each of you to briefly tell us how ing on other people for my instruments. If JW: I don't know. Ever since I was a little you got started malung early brass instru- there is something that needs to be adjusted boy, Tve always been fascinated with brass ments, what your early experiences were on my instruments, I can do it myself. That instruments. Perhaps there's a Freudian like, and who were your main influences. is very satisfying and at this point feels reason which I would hesitate to explain!! I almost essential to me. If I have to play the collected them and taught my self to repair PD: My background as an engineer, crafts- Haydn "Farewell" symphony next week, I them so they could be playable. Such was man, and horn player were key; in addition, can go into my shop and make an F# crook. my love for instruments that I worked in I I have always been enchanted by echoes, I don't have to wait four months for someone advertising for thirty years until I could and love to take a horn out and play with a to make it. To me that is very important. So afford to make them. You don't make money good echo. During the 1970's I became it was a very personal and somewhat selfish doing it. intrigued by the idea of making brass thing that made me become a horn maker. I instruments, and after completing a JMcC: Fm John McCann and I make posthorn and a natural horn with a set of RB: I guess I explained a bit this morning, "unnatural" horns. They're called cornetts. I crooks that was a bit cranky but playable, I in my talk, about how trumpet making, for started out while working for the U.S. came across an article on alphorns and how me, began as an exercise in learning how GovemmentinBerlininthelate1950's,and I they are made. The concept seemed simple they did it 200 or 300 years ago and how was studying recorder. I met and was and straightfbrward, and in 1982, after one could re-create that technology. It was inspired by the late Otto Steinkopf to make reading a few paragraphs in The New Grove, an intellectual exercise that got totally out cornetts. The puzzle behind the cornett was, I I went out in the woods, took down a white of hand to the point where that aspect is in why did it disappear when it had been the cedar that had a perfect curved shape, and the background. Now l'm making preeminent melody instrument of the began my first alphorn. That was the extent instruments because I just like making Renaissance? The other aspect was that it is of my apprenticeship. In retrospect, I must instruments. Anyway, it began when I was a primitive instrument. It can be made with adnut that I had extraordinary beginners' at the University of Toronto, Scarborough very few tools - indeed, I made my first luck; that was a good instrument - not all its College. They had an early music workshop ones on my dining-room table. Woodchips successors have been!!, and it certainly gave and I got to know some of the people in it. I are not as good as pasta, but anyway .. . I've me the confidence to press on. For me, a mentioned that I could work metal and was made them on an avocational basis since continuing source of challenge is that I still invited to demonstrate trumpet malung then. It's interesting to me that most of the have not been able to make two horns just techniques for the students and also help people here have done it on that basis. You alike. That was the beginning of a very them to build instruments. As I had not simply cannot make a living from it. enjoyable pastime. actually built any myself, it was a bit like the blind leading the blind. However, we PD: One of the things that Fve heard from RS: It's been a long evolution from the first had a great time. After a time, I branched all of us is that we all love to make 1 natural horn that I made, which was a single out, got some metal, and tried to recreate instruments. Each one is a new challenge. I 1 F horn with the valves taken out in a very the things the old way. I turned out a have the disadvantage of making a very primitive way. I began all this in about 1975 number of instruments which ended up large instrument. My wife is very patient. when I was a student of Lowell Greer. He hanging on people's basement walls and We're getting a house with a lot of very I had me play both the natural horn and valve getting recycled elsewhere. It came to the large alphorns in it. I have yet to make two 1 horn. At that point there were not a lot of point that I thought that writing a book alike. It's a wonderful creative challenge. I good copies of instruments being made, not about the techniques would be a good idea. I to mention that I couldn't afford them. As I wrote an article on trumpet making for a RB: I was criticized for that once. I said to learned more about what the instrument was Festschrift for the retirement of a curator somebody, no two instruments that I make I 1 capable of doing and felt the need for a friend. Once I wrote that small article, I are exactly the same. I couldn't understand I better horn, one thing led to another and I realized that it was very much the thin edge why they criticized that.

HBS Newsletter, Issue 5, Page 15 RS: There certainly is an "uncertainty instruments are much easier to play than principal. " JW: I envy the guys who are professional others. Now, about one out of ten of my players who do it. I play the bass trombone alphorns is so much easier to play than the SC: I have a question that I would especially only about once every fortnight. I can blow others, it's rather embarrassing. During the like to pose to kck. As a professional horn into any trombone and they literally feel all first competition that I played in performer could you say something about the same to me. Now, a professional Switzerland I was really delighted that the the relationship between your making and trombonist playing twelve hours a day is players loved my alphorn. I couldn't tell horn performance. Do you sometimes, in the aware of subtleties which would totally them why it was so wonderful. Others that middle of a concert, think about how things escape me. I think with out the help of those are not as nice to play are just as well might be different if you had made sorts of people, you can't really make aligned as that one, but somehow it's something differently? instruments. With the horns, I've been lucky different. Have you had that experience to have Tony Halstead work with me and where some instruments play and some RS: Today Viola and I were playing duets likewise I have worked with three or four of don't? on a pair of horns that belong to Doug the best sackbut players. I never got very Valleau. I had made a set of crooks for them tied up with trumpet players. Most of my RS: That's very true, although there is and I wanted to test them out. We were time has been spent with the horns and another side to that. The first instruments playing along. For the past 10 years I have trombones. But you must have players who that I made were from modern horn parts. been concentrating on a French instrument, are aware of all the subtleties and Those instruments are very free blowing and which is a very small bore, rather resistant differences in these things. easy to play. There are grooves into which instrument, and I thought, "why haven't I the notes fit and they don't break out of been making these instruments all along?" RB: I agree with you. My playing is an those grooves easily. However, I found later Doug's is a large Bohemian instrument. At embarrassment, which is why I don't do it, that an instrument that has wider grooves times I get insights like that when I might except in the privacy of my garage. But, you and feels a bit more difficult to play can be be playing a particular piece. I might be certainly need the feedback from good played better in tune because you can bend playing my French instrument in an opera players to know what's going on. the notes better. Sometimes it's difficult to and a particular attack is difficult, I know it tell what really is a nice-feeling instrument has to do with the resistance of the RS: Even as a player, I still need feedback because the ones that give you the best instrument. Just as I'm breaking this note from other players. When I work with a result in the end may not be the ones that into a million pieces, l'm thinking very particular instrument, my view of that "feel" the best when you first pick them up. calmly, "Gee, I really should develop a instrument becomes very narrow. After ten Viennese instrument on which that passage years of working with a particular type of RB: I wish it were possible to be able to would be easier." Similar things happen classical horn, I may know that type inside define what it is that makes one instrument when making mouthpieces. In the middle of and out. After making perhaps 70 horns it's different from another. About five years ago a performance I've considered the fact that difficult to see outside of that without help I was asked to make a pair of instruments. I It's probably a mistake to experiment with a from other people. It's very easy for me as a made them at the same time. I cut the sheet low-horn mouthpiece when you're play the B playerlmaker to say that someone doesn't together, formed them together, and finished Minor Mass!! As I'm thinking about know what he's talking about, but I really them together. The person who received the developing a different mouthpiece, of must take it into account. instruments felt that one was better than the course, I've missed the next measure. Sure, other. Everytlung that I had done was as one influences the other, all the time. JW: It's very difficult. Have you ever met close as I possibly could do to make them two trumpet players who have liked the virtually identical. Yet there was one SC: In a similar vein, I remember the same mouthpiece?!! trumpet that he preferred above the other remarks that John McCann made last year one. It's something indefinable. I wish I about hls interaction with cornetto players. RB: Have you ever met two trumpet players knew what it was. How does talking to performers influence with the same mouth? your work? JW:That also applies to a row of modem B~ JW What do you do with an alphorn? Bach trumpets. JMcC: Well, they tell you what they like Whom do you go to for advice? and what they don't like. The problem is RB: I get the criticism sometimes that that when you have a concept in your head, PD: Actually, the two young players who because I don't play well enough, how can I and then listen to somebody and go off on a will be playing with me tomorrow are horn profess to make trumpets? The inverse of tangent and become totally involved in what players. I've found that most respectable that, I suppose, is that there are a lot of his thoughts are, you never achieve any horn players can walk up to an alphorn and trumpet players out there who don't make sense of direction. Three different players make good sounds on it. I think most them. So, it works both ways! I'll make it. may have three different concepts in their trumpeters can too. I would like to ask a You play it. In Rick's case you have the two head of what they want. You have to listen question. When I've occasionally purchased combined in one person. That's an extremely to yourself, too. Otherwise, you never get horns, I've found that some instruments are good situation to be in, but it's not the only anything done. much nicer than others and some situation. You can get a fairly good dialogue

HBS Newsletter, Issue 5, Page 16 going if you live somewhere that's in touch which brings great laughter to the audience stupid, but I think there is something in it with the world. Not like Ottawa, for and panel.] What do you do when there is because I've heard it so many times. Also, I example! one note hanging out in the breeze? I think I think that many times, instruments do fixed part of that intonation problem by improve for players. JN: In Bob's talk this morning, he mentioned rebuilding the top section and eliminating that the major considerations for instrument the convex shape. [Dnnker now plays Audience question (Onun Stringer): With makers were largely economics and how another alphorn and the offending note is an instrument that has a crystalline easily he could make an instrument, not the much less out of tune, but now there is a structure, such as a brass instrument, could technical-acoustical study of it. We live in a distinct wobble in the upper register.] I've you address the issue of stress and wear? very technological age. To what extent do solved one problem but created another. you use advanced technology in making What might I do? JW: In old instruments, and even in 20th your instruments? century instruments, when the brass begins SC: Have you tried vent holes?!! to perish, it tends to perish in the areas that RB: I probably will continue to use the get the most vibration. simple hand tools that I use in making my RS: It's something that happens with horns instruments. If I use any acoustic measuring too. With a classical horn I might make an RB:Usually most stress occurs during devices, it will be to measure the finished E~ crook, and for some reason, the g on top manufacture. If it's the area of stress in product, not to improve the finished product of the staff is burbly. I can't say why. So, I manufacture, in a spun bell for example, 1 in any way, but just simply to explore what's take the crook off, hang it on the wall, make that's where you will usually see stress happening with that product. It's a separate another crook, and it works just fine. Then 1 cracking. It's usually related to the amount ~ issue. John, I think you are much closer to make another horn, put the Eb crook that's of stress the material has been under when applying modem technology to the actual hanging on the wall into the new horn, and it's being made. In regard to changing the process of making the instrument. it works just fine. It's a mystery. Just as Bob structure of the nodal points, as far as I was saying, I do everything the same way, know there is no evidence in the literature JMcC: Right. Bill Mathews and I are but obviously I don't, I just think that I do. for that. Something tells me that it can't be exploring tone-hole theory for better design. so. But, at the same time, I'd like to believe I would call it optimization of the cornett. JW:This leads to another aspect of this that it is so. We really need an explanation We've gotten Doug Keefe's interest in this to subject. The trombone, particularly a of that. further refine the tone-hole theory. What I narrow-bore instrument, has a socalled anticipate is taking that theory and varying "rogue note." The sometimes tends to be JW: Woodwind players tell me that it is the parameter of the cornett and then raspy. I still don't know why some have this definitely the case where an instruments building one to see if the actual construction problem and some don't. What I've found out gets broken in. supports the theory. It might be that the best is that, providing most of the instrument is we can do is to use the principles of the good and in tune, if you blow that hard Audience question (OmStringer): Well, I tone-hole theory to optimize mettmaking. for a couple of weeks, it becomes all right that's certainly true. A recorder for instance, i 1 For my perspective, to make instruments in again. There's this myth about "blowing definitely changes. The voicing changes. It I different pitches, on an intelligent, rational instruments in, and I've spent hours talking has a lot to do with the dynamics of basis, it would be highly desirable to run the to players about it. One thing that I do moisture. The instrument getting wet, dry, i parameters through the computer and come know, it isn't just depositing lime and spit oiled, dusty, etc. For a brass instrument, I , up with some very close answers on paper inside the instrument. I think it has to do would guess that the changes have to do , before I apply 16th-century high technology. with what happens to the molecular with a change of the structure itself. I think That is, to carve an instrument by hand. structure of the brass and various stress it would be possible to test that. I points. I know it sounds fanciful and I've I JW:So, you would know exactly where talked about it so many times, but I know RS: I think we are forgetting about the other I those holes would be? trombone players who tell me that they can half of the system - that is, the player. In 1 tell if the last player who played upon a his famous horn method of 1824, Dauprat 1 JMcC: Should be. What the parameters of horn was any good or not. They swear that discusses horns with bad notes. He says that the bore should be, where the holes should they can tell if that player was a high player, one can fix those bad notes by doing exactly be, what the optimal diameter should be. or never played F in the 6th position, or if what John described what the trombonists This is without the trial and error. I've he stank! These are guys who are otherwise were doing. By taking the top G with the Eb carved about 300 to 500 cornetts in the completely unromantic or fanciful about crook, and by playing for a couple of weeks, evenings and weekends. I'm now basically anything. I mean, they are trombone players you can fix that note. And when the next tired of creating additional piles of after all! I know a woman horn player who person sits down with that horn, they'll have woodchips without having something to won't let anyone play her instrument, even to "fix" that note. show for it! Tony Halstead. She told me that the last PD: I've got a question for my colleagues. time she let one of these "greyhairy" horn If I have a bad note, I can learn how to [hnker plays his alphorn and the second players use her horn, it took her six months approach it, how to attack it carefully and harmonic is unquestionably way out of tune, to get the horn to play right. It sounds sometimes not so carefully, but from the

HBS Newsletter, Issue 5, Page 1 7 right angle, to make it sound good. I have no RB:I've heard that over time the brass gets specially prepared hammered brass is idea if the metal changes. However, I think to a half-hard stage, where it's not as hard as unfortunately mostly nonsensical. the player is the more changeable element. it could be through hammering or burnishmg and not as RS: My concern in asking that question soft as when you have related to the fact that my instruments act immdately annealed very differently when the bell is annealed or it. You sometimes see when it is work-hardened. It makes a big that the edges of bells difference in the projection of the sound, in which have been the quickness of attack, and in any extremely worked characteristic that you might name. Was it during manufacture standard practice in the 18th century to have become almost begin an instrument with a completely brittle. relaxed bell or a completely hardened bell?

JW: There has been a RB: Sure, and how long did it take to go fashion in England for from a soft state to a half-hard state? horn players to have this "magic" process Audience question (Jeff Snedeker): Just done to their horns, by listening to your explanation, it seems to me having their bells that it is no wonder that each instrument is annealed. 1 think most different. What we're suggesting is that Viola Roth & Rick Seraphinoff, having worked out their "bad notes," inevitably, we can't do the same thlng every impressed the audience at the 92 HBS Festival with their performance. people don't really know what that means, single time. So we're talking about whether but they are prepared to pay about £60 to we're hammering a bell or annealing a bell, Audience question (Martha Bixler): I feel Paxman's. As soon as the player walks away or a player's interaction with an instrument, this is absolutely true of recorders as well. It they wop a torch all over it, charge the has any chemical or physical effect on the is not only the matter of voicing. I feel that I fellow, but neglect to tell him that once he horn. I think each player is going to have really have to teach a recorder how to play starts to play it's going to harden again. The some sort of individual interaction with the certain notes just by blowing them. The vibrations cause the metal to harden. horn. As a teacher and player I'm an 85-to- other thing is that if I loan a recorder to a Annealing something turns the alloy back to 90% believer that you have to make the student or fhend, it definitely comes back a its original state and the work-hardening instrument behave. You sit down and force different instrument. I have to then teach it alters the granules. In making a bell, the the instrument to play. It's llke playing with all over again. thing is annealed about six or seven times a metronome. What you do is sit down with and hammered about the same. There is so the metronome and play loud enough that JW: Thank you for that Martha. I was much jargon about whether a bell is the metronome cooperates with you. I feel beginning to think that I was going annealed or hand-hammered. It really makes the same way about the instrument. Just sit completely mad. YOUsee how difficult it is a small difference. I see so many down and play it until it cooperates with for the maker. Imagine telling someone, makers encouraging this mvth because it's you. A player will inevitably get some sort - 0---0 J -- -- "This car's not IU.n-in yet, but it will be great just a selling point to jack up the price. Ifs of response out of the instrument. It's much once you've driven it for six months," really just a lot of nonsense. like breaking in a pair of shoes. You get the toe holes in the right places, and the heel RS: There is another metallurgical point RB: I agree. This business about whether or fits in the right spot. I think it's the same that perhaps someone can help me with. not the whole instrument is hand-hammered thing with an instrument. Every 18thcentury horn that rve measured - well no, it never would be. The only part has been in what appeared to be a that would be hand-hammered is a small JW: With your cornetts, do you get this sort completely dead-soft state. It was as if the part of the end of the bell. That doesn't of thing happening? Are your instruments instrument had been annealed. This is what matter if it's hammered or what you do to it. accused of changing over a year, getting we sometimes do to an instrument after the You heat it up to near red-heat, and when better or worse? piece has been completely formed and all you do that, the brass goes back to a micro- the work-hardening is done to relax it. I crystalline state, and it's soft again. Any JMcC: I don't think they get any better! The wonder if the makers of the instruments I imprint that you might have left with your oil in the wood hardens and makes the examined did thls. Or, if after a period of hammering disappears completely. So instrument brighter. The other parameters 200 years, I wonder if an instrument has not whether you've made your bell by are fixed. The player learns to deal with the annealed at room temperature. I talked to a hammering, burnishing, or spinning makes instrument as time goes by and gets better metallurgist about this, and he didn't little difference to the acoustics because it's results. immediately begin laughing. So, maybe going to be heat-treated anyway. So all of there's something to this. this that we read in the literature about =

HBS Newsletter, Issue 5, Page 18 Audience question (Bob Cronin): I'm not Audience response (Jeff Snedeker): It's JW: Everything to do with brass is sure how brass instruments in the 18th rather like personal relationships. You can poisonous and everything that you do is century were soldered. What techniques take a glance across the room and, Wow!! dangerous. My wife forces me to use a mask were used? It's sometimes like that with playing a first now, but you can breathe in brass dust, note on an instrument but you really have to which contains copper. The dust off solder RB:I've done quite a bit of study into this give it some time. is also very dangerous. The first eight years and there are a number of different sources I never wore a mask. The polishing process to refer to. Basically, they did it in the fire - RB: A couple of drinks at least. is deadly poisonous. Just thinking about it, in a coal hearth. They would pre-flux and I'm surprised that I don't drop dead any solder the seam, wire it together, lay it in Audience question (Flora Hemman): Most minute! The chemicals and materials that the fire, and usually put some sort of iron of you mentioned that you did not start off you use are all poisonous. Some of them container with holes over it. They could put with the idea of becoming a professional hiss and smoke when they drop on concrete. coals all over this iron container and still maker. How long did it take and how many As far as instrument making is concerned, see inside through the holes. They would did you make before you made one that you nothing has changed. It's all lethal and we're pump up the bellows and heat it up until considered to be of professional quality? lucky to be sitting here. they could see the solder flowing inside. It is the single most difficult thing to do. A RS: It takes a long time. It's an ongoing RB:I was conducting a workshop in Toronto blacksmith friend of mine has a forge and struggle to achieve. I never played one about a few years ago. The students and I were I've been able to set up a lot of experiments which I could say, "Everything is here." In hammering and banging away at brass. It with solder in the fire. It is really difficult. terms of making an instrument that someone was about 80 degrees in the workshop and All I can say is that people who did it 200 would want to play on, it took a while - at the end of the day, sweat was pouring years ago really knew what they were doing. years. down and it was absolutely green. We were I The other way that they did more intricate using a great deal of abrasive polishing. joints is with a blow-pipe. There are several Audience response: (Bob Goodman): Bob, Looking at this green stream of sweat illustrations of the use of a blow-pipe, With you rate the One you made dnpping down my face made me think that a blow-pipe you need a lot of heat. You recently for Don Smithers? there must be another way of doing this. I usually can't get enough heat to do That's when I started burnishing rather than

RB: It's pretty good. It was the first one that I something like a seam with it. abrasive polishing. I also found out that's ! I made from sterling silver and that scared what they used to do in the past. They PD: I'd like to respond to what Jeff Snedeker me a bit. The first time you use a new weren't using a lot of abrasives. So there said. As an instrument maker, it bothers me material you get somewhat womed. must be something in that as well. There's a to give someone an instrument that doesn't Previously I made brass ones. This was the lot of information in the early literature behave well. To play a good instrument well first one I made from sterling silver and it about poisons in the workplace. Theophilus, is hard enough. It bothers me tembly to scared the hell out of me just making the the 12th century monk, mentions that if you have an instrument where certain notes don't thing. I did everytlung in slow motion in are working with lead or mercury, you want to come out. Yes, you can whip it into case something melted down on me. I don't should eat a a lot of butter. He seemed to shape but that really ought not to be the thlnk you ever have the situation where you think that butter would prevent you from object of the game. say, "This is the one." getting ill from these substances. Cellini mentions the use of mercury in the gilding RS: It's a slow evolu- process. He says, "The master himself tion. My evolution as a should not practice in this craft, for those player grew with my who practice in it live but a few years!" 1' 1' 1, evolution as a maker. Nowadays, we're aware of these things and There has never been a I take precautions. point where I could -fL say, "this is it." Audience question: What are your feelings I about lacquered as opposed to unlacquered $ eyg?., Audience question: instruments? Since you have been involved in making RB:I don't lacquer. People have told me p%T-instruments the old that there is an acoustic difference. way, have you been aware of any health JW: I have lacquered one or two but I prefer hazards? This is an not to do it. To polish an instrument to the :ebb :ebb area that many people kind of finish that it needs to justify the are concerned about. expense of lacquering is such a bore. I can't How d'you lip an A natural on these things? imagine how people who polish modem

HBS Newsletter, Issue 5, Page 19 horns bear to do it. There must be a special measured a horn, the mouthpipe section, on your own playing abilities, how often do breed of people who just do that. which in theory should be cylinhcal, was you find yourself in this difficult situation? in reality constructed in stepwise sections. RS: That's one of the biggest health hazards To me, this meant that the instrument had RI3: That hasn't happened to me badly yet. also. been restored and I was not getting a true It's something hanging over me in my future. reading of the taper of the mouthpipe. I don't know how I'm going to handle it if it JW: I'd just rather not do it. I don't know Tuning slides were sometimes cut down does. how it affects the sound. It obviously when the pitch standard was raised. thickens the material. It just adds a lot of Mouthpipe receivers might have been made RS: Sometimes you find yourself in the money to the thug. The few times that I've larger to accept a different mouthpiece. situation where someone brings you a horn done it, it wasn't successful at first try. You and tells you that the a above the staff, a then have to get the stuff off. Audience question (Gary Tome): On a notoriously difficult note, simply does not related matter, I remember that several work. It's difficult and embarrassing to Audience question (Orurn Stringer): Are any years ago it seemed that all the Baroque explain that it does work, but one has to sit of you gentlemen familiar with oboes were copies of one or two down and work very long and hard to figure deterministic chaos? instruments. Certainly with harpsichords, out where that note is. they've gone from modeling Flemish to JW:What!? modeling French, to Italian, and now they JN: After all this talk of notes, difficult and otherwise, as performers we all owe our RI3: Oh yes. I have four children! are modeling English ones. Now, especially when Eastern European collections become instrument makers a great note of thanks for Stringer: I think you might find it very more accessible, and more originals are their great work and wonderful instruments. comforting to study. It has to do with being discovered, how will this affect you work? Certainly, without them the joy that we all able to reproduce things exactly and why have when we make music would be greatly some things with complex forces working RS: It's going to make things a lot more fun. diminished. on them turn out one way sometimes and other times turn out another way. You might JW: Also, people are getting more interested find it interesting and comforting. in 19thcentury instruments. We know so much more now about Renaissance and JW I'm glad to hear that there's something Baroque period brass instruments than we around that will do that. do about the comparatively recent past. ERRATA RI3: We're not practicing it, if we do know Audience question: For those of you who The HBS e-mail address was listed it. make copies of historical instruments, what incorrectly in the HBS Journal v.4. It is do you do to insure that the instrument you [email protected] are copying is a good one? I would be JW: But, never-the-less, we have this knowledge. However, very little is known womed that if some instrument has come In David Edwards' review of The Art of the about the beginnings of the Romantic down in really good shape after a couple of Trumpet Maker: The Materials, Tools and period. People are getting interested in early centuries, it might have been because Techniques ofthe Seventeenth and rotary valve instruments for German nobody wanted to play on it. Eighteenth Centuries in Nuremberg by Romantic music. It's just going to be Robert Barclay, on page 273 in the HBS endless. There are always other instruments RB: Sure. This is also a point with many Journal v. 4, a typographical error was and areas to look at. We are now at a stage museum instruments. Some are in museums made in the penultimate paragraph. It where "authentic performance" applies to because they didn't get played to pieces. should read, "The issue of finger holes is the 19thcentury. But we don't even know This is a very dificult issue. l've made some wide open: possibly if we returned to the what instruments they were using half the mistakes in copying instruments. I think I temperament of the 16th and 17th centuries time. There is so much going on and this just got lucky when I took the Hanns the harmonics would not have to be "bent" period of 19th century period brass music Hainlein instrument which I now copy. If I so much to suit modern ears and record has always been of great interest to me. It were to develop another instrument to copy, producers and finger holes would become seems that today a trumpet player needs to I'd be scared that I might choose one that irrelevant. The debate will doubtless own at least ten or twelve trumpets. isn't really good. I would of course have to continue." be very careful that the instrument is a good Audience question (Chris Whitehead): You one. There are some instruments in In John McCann's article on page 16 of the mentioned how important getting feedback museums which are excellent and some HBS Newsletter #4 the word used to from players is. I wonder about your sense simply don't make it. describe the mouthpiece was incorrectly of frustration when a player will tell you spelled as "venturew-shapedcup. It should that certain notes don't work they way they RS: You also might not know what has have read "...venturi-shaped cup." happened to a museum instrument over the should, and you can't figure out what to do past two hundred years. Recently when I about it. Particularly if you don't rely heavily

HBS Newsletter, Issue 5, Page 20 The Apparato musicale (1613) of Amante Franzoni by Bruce Dickejy

It is now well known that instrumental tenure there.3 The only surviving copy of the JAMS XX (1 967), pp. 87-1 06; and James ensemble music in the early 17th century Appamto musicale di messa, sinfonie, Moore, Vespers at St Mark's, UMI Research not only adorned both civic and private canzoni, motetti, & litanie della Beata Press, 1981. festivities but also fulfilled numerous Vergine ... opus 8, libro primo, published in 2. For a full discussion of this collection and religious functions, both liturgical and non- Venice in 16 13, is contained in the Santa a comparison of its liturgical specifications liturgical. Recent research has indicated that Barbara collection, now housed in the with those of Franzoni see Peter Allsop, The instrumental pieces as well as non-liturgical Biblioteca del Conservatorio "Giuseppe Italian "Trio" Sonata, Oxford: Clarendon motets and concerti of various types were Verdi" in Milan, catalog number SB 63. In Press, 1992. often substituted for antiphons at Vespers. this collection Franzoni includes the A particularly interesting example of this following music for the Mass: 3. Jerome Roche, North Italian Church usage is represented by Francesco Cavalli's Entrata et Ritornelli a quattro per l'lntroito Music in the Age of Monteverdi, Oxford: 1656 collection, Musiche sacre, which Canzon Francese a quattro per llEpistola Clarendon Press, 1984. contains six sonatas for from 3 to 12 voices, (La Gonzaga) the number of sonatas suggesting that they Laudemus Dominum et sue Sinfonie a otto are meant to serve as antiphon substitutes per l'ofertorio Sinfonia a1 Sanctus a quattro for the five Vespers psalms and the Aperi oculos tuos a quattro per la Elevatione Magnificat. Moreover, instrumental music Sinfonia all'Agnus a quattro was frequently used in the Mass as Canzon a quattro, due soprani, e due substitutes for items of the Proper or, more Bassi nel fine Classified Ads precisely, to accompany the quiet recitation In addition to this music for the Mass, of their texts by the priest. Information on Franzoni includes a Concerto a 5 sopm Stolen Natural Trumpet: A coiled Meinl this practice is provided by a number of Sancta Maria based on the same plainchant and Lauber natural trumpet belonging to sources including LrOrganosuonarino by litany as Monteverdi's Sonata sopra Sancta Flora Herriman was stolen in Brooklyn, NY the Bolognese organist Adriano Banchieri, Maria from the 16 10 Vespers. Indeed there on April 11, 1993. If anyone thinks they as well as several collections of sacred appears to have been a North-Italian may have seen it, please contact her at music containing instrumental pieces whose tradition of such instrumental compositions 102 Cedar Grove Rd., Little Falls, NJ liturgical function is specified. Carlo for trombones (and cornetts) based on this 07424, tel. (201) 785-2460. Milanuzzi's Annonia sacra (1622), for Marian litany. Another one (albeit far less example, provides five such pieces: interesting musically than Franzoni's) for For Sale: Alto sackbut in F, B6hm & Concerto a 5 per 1 'Introit0 soprano, two cornetts and trombone is found MeinVGiardinelli, with historical mouth- Canzon a 5 detta la Zoni per 1'Epistola in the first book of Concerti ecclesiastici piece. $475. Contact: Michael Swinger 8565 Canzon a 5 per l'ofertorio (Venice, 1608) of Arcangelo Crotti. Benson Rd., Carroll, OH 43 112, Canzon a 5 detta la Riatelli per il Post Comunio tel. (614) 837-5681. Canzon a 2 alla Bastarda per il Trebone, e fiolino per il Deo ~ratia? For this issue of the HBS Newsletter, Charles Toet has transcribed and edited the Wanted to sell: Christopher Monk's Among collections of instrumental music Concerto a 5 sopra Sancta Maria, the personal cornetto and cornettino at 440. with explicit liturgical functions, Amante Canzon Francese a 4 La Gonzaga (per Both in boxwood, the cornetto with solid Franzoni's Apparato musicale, published in L'epistola), and the Canzon a 4, due silver mounts top and bottom, the cornettino Venice in 16 13, is of particular interest. soprani, e due Bassi nelfine. The figures in with solid silver mounts top, bottom and in Born in Mantua, Franzoni, a Servite father, the basso continuo have been supplied by the center. Offers invited for the pair. spent most of his career there in the service the editor as the figures in the original are Contact: Jeremy West, 47 Chalsey Road of the Gonzagas. He is known to have been extremely sparse. In addition, the basso Brockley, London SE4 1YN, England, in their service before 1605, while from continuo part of the canzona for two tel. 44-081-692832 1, FAX 44-081-6948784. 1612 until 1630 he served almost sopranos and two basses is printed in the uninterruptedly as maestro di cappella of original on two staves identical to the two Wanted to sell: Meinl and Lauber the ducal chapel of Santa Barbara, a post to instrumental bass parts. They have here Inventions natural trumpet with 5 crooks. which Claudio Monteverdi was appointed in been reduced to a single basso continuo line Contact: Bany Bauguess, 71 3 Pollack 160 1. The influence of his important following the lowest part, in the manner of a Street, New Bern, NC 28560, tel. (9 19) predecessor is clear in the works of basso seguente. 636-0476. Franzoni, and indeed it has been suggested that the liturgical usage indicated in the Notes Wanted to buy: Tenor sackbut. Contact: Apparato musicale may represent the 1. See especially Stephen Bonta, "Liturgical Alan Littau, 1 1 Stuyvesant Oval, New York, practice at Mantua during Monteverdi's Problems in Monteverdi's Marian Vespers," NY 10009, tel. (2 12) 6734845.

HBS Newsletter, Issue 5, Page 21 Concerto ii 5 sopra Sancta Maria de Trombo~1~3bbm~&/ Fenore & Sopran che cmb

rSl%t Amante Franzoni trmscn;Dbbn:Charles 72

A 25 30 I I I I I I h - - I LL 1 I I I I I UU 1 -. 1 d - - I ra Pro no- bis.

ra pro no- bis. I O- Concerto 6 5 sopra Sancta Maria - Franzoni , Pages 3 & 4

HBS Newsletter, Issue 5, Page 23 Canzon h due Soprani & due Bassi - Amante Franzoni (tr. Charles Toet), Pages 1 & 2

HBS Newsletter, Issue 5, Page 24 Canzon h due Soprani & due Bassi - Franzoni, Pages 3 & 4

HBS Newsletter, Issue 5, Page 25 Canzon Francese a 4 La Gonzaga - Arnante Franzoni (tr. Charles Toet), Pages 1 & 2

HBS Newsletter, Issue 5, Page 26 Canzon Francese a 4 La Gonzuga - Franzoni, Pages 3 & 4 . -. c .

HBS Newsletter, Issue 5, Page 27 Canzon Francese h 4 La Gonzaga - Franzoni, Pages 5 & 6 <'

HBS Newsletter, Issue 5. Page 28 The Side Embouchure by Yoshimichi Hamada

1. Prologue beyond the lips (Figure 2). Then how about But I know this will not be the same for Many fine brass players give little thought putting the mouthpiece between the middle everyone. Bruce uses the upper lip to fix the to the embouchure. When I started playing of the lips and the comer (Figure 3)? I once mouthpiece position. One value of the side trumpet, my teacher sometimes scolded me read an article that described a trumpet embouchure is that the mouthpiece is placed because I worried about my embouchure too student who didn't place the mouthpiece in on a thinner part of the lips. I am a stickler much. In this article I will primarily discuss the middle. He went to Claude Gordon for for placing the mouthpiece at the very the embouchure as it applies to cornett advice. Gordon picked up his trumpet and comer. The muscles function differently playing, because other aspects of cornett proceeded to play it from many different there as compared to other places on the playing (breathing, etc.) are very much the positions all over his mouth. In my opinion, lips, and the musculature at the comer is same as with other instruments. placing the mouthpiece anywhere on the lips especially suitable for cornett playing. away from the comers is "normal" playing Perhaps I should say this article is about the First, I would like to explain why I play and requires no special technique. "comer embouchure" rather than the "side cornetto with the side embouchure. When I embouchure." studied the recorder at Toho Music College Point B (Figure 1) shows that the inside of in Japan, Dr. Don Smithers gave a the rim is to be put under the edge line of 3. The Function of the Muscles ! workshop for natural-trumpet students. At the lower lip. I always "fix" the mouthpiece The difference between the side embou- that time I played cornett very little and very position with the lower lip -- I place the chure and the normal embouchure lies in the I badly with the front embouchure. Smithers mouthpiece on the lower lip to determine different function of the muscles at the right recommended the side embouchure, and position, and then bring the upper lip to it. side and the left side. This bad balance demonstrated it by playing first out of one between the right and left side can cause I side of his mouth and then the other. fatigue, so it is important for us to preserve Because my main instrument was now the a good balance between the sides even recorder and no longer the trumpet, I could though their function in the embouchure is do it lus way without any trouble. At the very different. I outset, I sounded as badly as I did when I started the trumpet at the age of ten. But (a) The Right Side one week later, I could hit a high note more I have a little air in my right cheek, which in easily than before, and I could play lipslur my case is just to the side of the mouth- octaves with much more facility. piece. Freddie Hubbard once said in an interview that he and Lee Morgan used to I studied cornett seriously after I entered the puff out their cheeks because they wanted to Schola Cantorum Basiliensis and met Bruce make a warm sound. When I read this 1 Dickey. I was a great fan of his because of interview I had the same thought. Could you hls recordings, and I felt as if I were in a puff out your right cheek with all your might dream because I could actually study with and play? Although the air will go out 1 him. He said at first that he knew nothing powerfully, you will either make no sound about the side embouchure, but everything at all or a very low sound like a pedal tone worked well when I applied his suggestions on a trumpet. Then could you try to play to my side embouchure.1recommend a setting both sides of your lips like the knock at Bruce's door for any cornett student normal embouchure, with puffing your who plays with the side embouchure and cheek? Probably you will make a very thin suffers from the scarcity of teachers. I think sound. In order to change this sound to a the side-embouchure player has to discover deep, fat, sweet, soft, and juicy one, try lus technique through his own experiences, putting a little air into your right cheek. but it is important to apply the theory of the This is my approach. normal embouchure and common brass I techniques to the side embouchure. The side Eventually I learned to play with a feeling of embouchure has different applications for complete relaxation on the right side. When different individuals. I can't find a universal I put the mouthpiece to my lips I pucker my and general theory for everybody, and mouth only a bit, and I never set both sides perhaps I might change my own way of of my mouth tightly as I do when playing playing in the future should I find new the trumpet. However, the muscles on the information that might warrant it. right side 03mouth are under some tension, as wed with their condition 2. Position of the Mouthpiece when I puff out my cheek with all my might. I put the mouthpiece at the far right comer In this connection I may add that blowing of the lips. Point A (Figure 1) shows that strongly while puffing out my right cheek the inside of the rim is to be put at the end without making a sound was a useful of the lips, without any part of the cup exercise while I was changing to the side

HBS Newsletter, Issue 5, Page 29 embouchure. There are some problems had doubts about this in the past and have of the muscles of the left side. Whatever which can occur from putting air in the wondered if the roles of the upper and lower your method of breatlung, you should avoid cheek. Staccato notes can loose their sharply lips are reversed in the side embouchure, allowing air to come through the instrument. defined endings, and the K sound in double with the lower lip doing most of the tonguing can become blurred. Excessive air vibrating, because at the corners of the 8. Comwtibilitv of the Trurn-pet and the in the cheek can function like a bagpipe or mouth the lower lip is much more flexible Cornett bladderpipe, disturbing the work of the than the upper lip. But my theory was I once read an article that maintained that a tongue. disproved by two unfortunate outbreaks of trumpet player can play both instruments if stomatitis at the area of vibration on the he/she plays the cornett with the side (b) The Middle and the Left Side upper and lower lips at different times. embouchure, but I think this is incorrect. To When I play I tighten the left side and also When I had stomatitis on the lower lip I play the cornett we stiffen the middle part of pucker a little bit (Figure 4). The middle could play somehow, but when I had it on the lips, but for the trumpet the middle part part of my mouth is also tightened and the upper lip, it was impossible to make a must be relaxed. And it's even more difficult bunched slightly, and is shifted upwards and sound. After these problems I have used the to relax the right corner when we switch slightly to the right (Figure 5). I used to soft mucous membrane of the inner part of from trumpet to cornett. So, I believe it is worry about ths bunching, which makes a the upper lip to good advantage. Because much easier to control the middle of the lips shape llke the stone of a peach on the jaw. my Japanese lips are deeper and harder than to fit the two kinds of rim sizes. In fact, I am Then I encountered Jerome Callet's theory of most Westerners', in order to do ths I had to suffering from switching from the embouchure, which recommends the "peach cover the mouthpiece slightly with the upper Renaissance slide trumpet to the cornett. stone" shape of the lips. Th~stheory led me lip when placing the mouthpiece in position. to other ideas that apply to cornett playing, The sound color was much better than 9. Epilogue and I stopped worrying about how my lips before, but there were two difficulties. High There is no lipreed (brass) instrument far are bunched when I play. My friend notes were hard to play and more tiring than back in Japan's history except the Horagai, Rebecca Reese, who play; with the side before, and it was very hard to play a the shell trumpet. As compared to embouchure, is also having success applying diminuendo to pianissimo. The reason for Westerners, we Japanese have a differently the idea of the "peach stone" shape. If I these problems was obviously that the constructed face, which is somewhat less tighten in the opposite direction, i.e., aperture was opening too far. I found a way suitable for brass playing. It is interesting downward, I make the "smile," which seems to overcome these difficulties without that the traditional shell-trumpet players use not to work as well. I have also tried pulling loosing a good sound. I raised my lower lip the side embouchure. I think I will consult down the muscles of the chin, but this slightly in the mouthpiece, and was able to with them in the future. By the way, I thmk seems not to produce very good results, keep a good sound in spite of the narrower that old books about the side embouchure either. When I am in good condition I can aperture. When I played a diminuendo, I are of little use. However, old pictures and feel that the tension of all the muscles is in consciously made the aperture smaller, sculptures give me inspiration. They balance and power flows from left to right. opening my throat in order to regulate the especially give me the courage to continue In my case almost all the red part of my lips intonation. to play the cornett at the side of my mouth. I is hldden, but I never roll up the lips have seen pictures of angels playing the consciously. The parts of my face under the 5. The Syllables (Tongue Positions in cornett. There is absolutely no hesitation in nose and under the lips swell very much Different Registers) their eyes about playing the cornett using without air. I used different vowels when I played the side embouchure. trumpet, but I don't use this for the cornett. (c) Playing High Notes If I play a high note with the vowel "ee," as Yoshimichi Hamada lives in Japan and plays When I played trumpet I pulled up the in trumpet playing, the sound is cornetto, recorder, and slide trumpet. muscles above the lips as I played hlgher. I unbelievably sharp on the cornett. don't use this system on cornett, but I do pull them up a little bit to keep the "mental" 6. Tonguing register high when I put the mouthpiece in In my experience it is impossible to move place. Now I am trying to play high notes the tongue on a slant for the side without lifting the muscles, but so far the embouchure. Therefore I touch the tip of my results have not been satisfactory. tongue to the tooth just left of the upper cuspid and the right side of the tongue to the (d) From Another Angle upper teeth. But I move the tongue to the Try hsexercise. Close your mouth so that front and the rear as in normal playing. the lips are slightly in the shape of a letter M. Add air to your mouth. Puff up your 7. Breathing right cheek a little bit. Then you will have a I use my nose and the right half of my little hole at the right end of your lips and mouth for breathing. Consequently the air the air will leak out from it. Pucker slightly comes through the space just to the lefl of in order to purse the hole. This is how my the mouthpiece and the instrument. Bruce embouchure is formed. You &t imagine a hated this and advised me to breathe with very distorted face indeed. the left half of the mouth as in swimming the crawl. But if I breath this way my 4. The Aperture embouchure tends to fall into the smile As in the normal (trumpet) embouchure, the configuration, which doesn't work for me. upper lip does most of the vibrating. I have So I breathe while maintaining the tension

HBS Newsletter, Issue 5, Page 30 Conference of Early Music Societies by Stewar~Carter

Representatives of seventeen early-music formats. Concert presenters agreed that identity while integrating with the organizations met during the Berkeley Early because present-day audiences seem to mainstream; change the definition of "early" Music Festival June 12- 14, 1992, for prefer concerts of instrumental music, they music to reflect broader scope. 3) Encourage conversation, brainstorming, and goal- sometimes hesitate to program concerts of creation of contemporary music based on setting. The conference was sponsored by vocal music-a distressing trend for the experiences with historical instruments. Early Music America, and organized by early-music movement. Several participants board member Brent Wissick. EMA expressed concern that the audience for As EMA had hoped, conference partxipants engaged Ann Farris, president of Global Art early music is not expanding; furthermore, it saw our organization as a logical umbrella and Business, to serve as facilitator. is ageing, and we are not attracting younger association for the entire community. As a Essentially, two different types of replacements. Our demographic base is national organization, more broadly based in organizations were represented: national narrow, and we must develop a multi- membership than other societies, EMA can organizations devoted to a particular cultural appeal. "Cross-over" approaches, serve as an effective advocate with instrument or family of instrument (such as connecting with diverse repertoires, should govenunent and the media. On the last the American Recorder Society), and local come into play here. Educational issues also morning of the conference, a five-member or regional societies, engaged in a variety of generated considerable interest. Educational task force was appointed to maintain endeavors, but emphasizing the presentation institutions at all levels are experiencing communication at least until the Boston of concerts (such as the San Francisco Early severe financial difficulties, and are Festival in 1993. Members of the task force Music Society). Obviously, one of EMA's unwilling to launch new programs. If we are were chosen to hlfill specific roles: goals in organizing this conference was to to interest children in early music we must Caroline Usher represents national early- harness the energies of these organizations educate teachers. Arriving at a consensus on music societies, Joan Parsley represents and encourage them to work toward long-term views occupied much of the concert presenters, Brent Wissick represents common goals. The initial session focussed participants' time and energies. A condensed EMA, Jack Ashworth is to coordinate on the present, first defining early music, summary of these goals appears below: communication through electronic mail, and then establishing a phlosophy for the Calvert Johnson is charged with maintaining discipline, and finally identifying problems. by 1997 1) Expand education programs in the group's structure. The task forces is to Participants had the opportunity to: 1) Learn order to interest more young people in early meet via telephone every two months. While about the activities of the organizations music. 2) Develop strategies for educating no concrete results were assumed by the represented. 2) Identify needs of each group the general public as to the importance of EMA committee that organized the participating. 3) State the values associated art music. 3) Recapture the excitement of conference, the formation of the task force with early music. 4) Identify services the early-music movement, while still represents the first step in what may become needed to improve communication, moving beyond the "novelty" stage. 4) Re- a vital network, connecting diverse elements accessibility, and artistic maturity in the kindle interest in Medieval and Renaissance of the early-music community. The follow- field of early music. 5) Outline short-term music. 5) Expand cooperation and collabor- ing organizations were represented at thls and long-term financial challenges. 6) ation in all areas of early music. 6) End the conference: American Guild of Organists Discuss how to make better use of intellectual warfare between early music (Calvert Johnson), American Recorder communications media (including film and and the rest of the "classical" music Society (Allan Moore, Constance Primus), video. 7) Outline strategies for dealing with community. 7) Expand representation of Early Music America (Daniel Nimetz, Brent the changing economic and global performing organizations in EMA. Wissick), Early Music Guild of Seattle conditions associated with the early music 8) Expand electronic communication within (Maria Coldwell), Early Music Vancouver field. 8) Outline a first draA of a long-range the field (for example, board meetings by (Jose Verstappen), Historic Brass Society plan for collaboration. computer). (Stewart Carter), Historical Harp Society (Cheryl Ann Fulton), Historical Keyboard Performance issues, as might be expected, by 2002 1) Establish a program for early Society of Wisconsin (JwParsley), drew lively debate. Many participants music in grades K-5. 2) Expand early music Intergalactic Early Double Reed Society wondered if the "authenticity" issue on radio and other media. 3) Establish an (Marilyn Boenau), International Society of intimidates audiences and amateur international computer network or "bulletin Early Music Singers (Colleen Liggett, Kurt- performers. There was some agreement that, board" for early music. Alexander Zeller), Lute Society of America while in the near term we may draw (Caroline Usher), Midwestern Historical financial strength from supporting by 2007 1) Establish early-music programs Keyboard Society (Marcellene Hawk "authentic" performances of "old standards," in elementary and secondary schools Mayhall), Renaissance and Baroque Society the early-music field long thnved on comparable to those for modern orchestral of Pittsburgh (Russell Ayers), San Francisco convincing performances of little-known instruments. Educate teachers and provide Early Music Society (Robert Jackson), repertoire. We need to be willing to take instruments for children. 2) Expand the Southeaste Historical Keyboard Society risks-to program unfamiliar repertoire, to audience for early music; broaden its base (Calvert Jan),Viola da Gamba Society rearrange audiences' expectations and open demographically and multiculturally. of America (Brent Wissick, Jack Ashworth, them to the element of surprise. We also Glenn Ruby), Westfield Center for Early need to expand our concept of the context of by 2012 1) Broaden financial base to Keyboard Studies (Margaret Irwin- early music performance, and not restrict enable professional early musicians to earn Brandon). ourselves to "traditional" concert venues and a decent living. 2) Retain early music's

HBS Newsletter. Issue 5, Page 31 Music Reviews

The following nine editions ire published written out indications for sixteenth note organist, meteorologist, fire inspector, by Noton Noteforlag, Kolltjernvn. 11, PO grace notes and drum rolls: + AN . The six waterfall inspector (whatever that is!!), Box 10 14, N-2301 Hamar, Norway, duets for natural trumpets are slightly more architect, instrument maker, music theorist, Tel/Fax 065-2 1077 demanding than the Smastykkers in that the publisher, and composer. He published a first part ascends into the high register music theory book, Musical Elements in * Rondeaux Pour Les Trompettes (for cornetto reaching high c3 and even d3. While more 1744. Few of his works have survived, but and 3 trombones) - Anon. Editor: B.Volle N- demanding, they are also much more his Sinfonia a 5 is in the Trondheim 89 1 O-A interesting musically. The melodic lines are University Library (catalogue # XM23). * Two Duets (for 2 natural trumpets) - quite elegant, at times even a bit Mozartian. This interesting work was published with Anonymous. Editor: B.Volle N-89 13-A These trumpet duets are some of the most the support of the Norwegian Cultural Fund. * Sonata a 8 (2 trumpets, 2 violins, 4 violas, & b.c.) - Clemens Thime. Editor: Anders interesting and satisfying l've seen. The This is lucky for us because it is a fine work Hemstriim N-8944-A four-part Rondeaux Pour Les Trompettes for solo cornetto. However, only advanced * Smastykker ( 1-4) (for 3 trumpets and timpani) cannot in fact be played on natural trumpets. players should approach this piece. As with - Anon. Editor: B. Volle N89 14-A The four part books, now housed in the much 18th century cornetto literature, this * Smastykker ( 13- 16) (for 3 trumpets and Uppsala University Library, are named: piece is difficult. It goes up to high d3, has timpani) - Anon. Editor: B. Volle N89 1 5-A Primo, Secondo, Tenor, and Bassus. The many leaps, and is in the difficult key of D * Smastykker (25-29) (for 3 trumpets and Primo part is very trumpet-like, and can be major. The three movements are Allegro - timpani) -- Anon. Editor: B. Volle N-89 16-A played on the natural trumpet for most, but Largo -Allegro. Although it is a taxing * Sonate 23 C# major (for trumpet, 2 violins & not all of the piece. Logical instrumenta- work, it offers the cornettist many rewards. tic) - Georg von Bertouch. Editor: B. Volle tions for these Rondeaux would be two If you have the chops, this is a great piece N90 1 8-A cornetti and two trombones or one cornetto on which to work. * Sonate 9 in C major (for trumpet, 2 violins, & b.c.) -- Georg von Bertouch. Editor: B. Volle and three trombones. It is not uncommon for N89 18-A cornetto parts to be very imitative of natural The two Sonatas by George von Bertouch * Sinfonia a 5 in D (for cmetto, string & b.c.) - trumpet writing. It certainly would be an ( 1668-1743) are an extraordinary find for - J.D. Berlin. Editor: B. Volle N-89 17-A interesting change of color to have a fifth trumpeters. While not on the magnitude of musician play natural trumpet and switch unearthing a lost Mozart symphony or Asked to name some important centers for off with the cornetto player on the Primo Josquin Mass, they do add to the solo Baroque brass music, you might suggest the line. natural trumpet repertoire two complete areas of Bologna, Venice, Vienna, or four movement sonatas of impressive Leipzig. I think few would think of the According to Ander Hemstr6m's notes, musical quality. They are also quite play- Scandinavian countries, but Bjame Volle, Clemens Thime ( 1631 - 1668) started his able by natural trumpeters possessing even the publisher of Noton Noteforlag, aims to musical education in Dresden. Heinrich modest technique. Sonata #23 in C' Major change that perception. He has published Schutz took him to Copenhagen, where he has a range of e#' to a# ". It is indeed rare to some wonderful 17th- and 18thcentury sang in the choir. He then returned to find seven sharps in Baroque trumpet music brass music from that part of the world. Dresden where he studied composition. He but there it is. This is another bit of &or- Many of these gems are housed in the ended his career as concertmaster in the mation to throw into the perplexing bowl of Uppsala University Library and the Lund court orchestra of Zeitz. Of the over 100 bubbling soup called "pitch standard" du University Library in Sweden, and these are works that he composed, 18 have survived. jour!! Of course, there is no problem in the first modem editions. Eight of them are in the Duben collection in learning the "fingerings" for a piece in c'. Uppsala, where his Sonata a 8 for two Simply put the horn in that key. The Sonata Smastykker is Norwegian for "short piece." trumpets, two violins, four violas, and No. 9 in C is more formidable. It reaches The eleven short pieces for 3 trumpets and continuo is housed. This work is in five high cmand the melodic lines are somewhat timpani are housed in the Engelhart Collec- separate movements and the trumpets play more difficult. However, both of these tion of the Lund University Library. The in all. The range of the trumpet parts is works give the player ample rest and the manuscript consists of four part books: from e1 to c3. In the first measure of the fifth range is mainly in the middle register. The clarino primo, clarino secondo, principalo, movement the second trumpet part descends editor, Bjame Volle, offers numerous timpano. Volle dates these anonymous to low c'. The two trumpet lines are oAen ornamentation suggestions that are works circa 1700. The ranges of these imitative while the second part is often unobtrusively written in small print above pieces are moderate; principalo (gc2), above the first. There are no non-harmonic the given line. These sonatas would be clarino (c1-c3).While these pieces are notes to play, but the trumpeters have many perfect for a recital, particularly one where basically fanfares, there are some that break high F#'s, B%, and B's to master. Edward the trumpeter might want to play a the mold and present some rather ingenious Tarr has recorded this piece on his CD, Die musically substantial natural trumpet musical ideas. They are also thoroughly Fiirstliche Trompete, Christoforus-Verlag "demonstration" piece, but one that is not playable, posing few endurance or other CD 74559. overly demanding. Bjame Volle has done a technical demands. The piece @tied Echo great service by bringing out these is a clever work with much dyn8nic and Johan Daniel Berlin (171 4-1 787) was born noteworthy editions. We certainly look textural variety. In addition to the short in Memel, Germany, and was appointed forward to more of this interesting fanfare material several of these works tow musician in Trondheim, Norway in repertoire, which might spark future employ hymn tunes in the clarino parts. The 1737. This amazing man worked at many research into the hitherto scant information timpano parts, interestingly enough, have diverse occupations including: church on the Scandinavian brass tradition.

HBS Newsletter, Issue 5, Page 32 piece. This piece is based on the ruggiero, a that special period of history. Purcell(1659- harmonic ground bass popular during the 1695) wrote outstanding trumpet music in The King's Trumpetts and Shalmes Music sixteenth and early seventeenth centuries. his many odes and theater pieces. This Editions 1720 19th Avenue San Francisco, In his notes to this edition, Smith suite, as well as the others in the series, CA 94122, (4 15) 665-2083; Baroque Music conjectures that this piece is the only one in gives the trumpeter an excellent solo for Brass Ensemble Series: the entire collection that is not included in vehicle. The Duke of Gloucester's Birthday * Canzone Seconda by Ottavio Bargnani ( 16 1 1 ), the prtitura because the accompamst Ode (1695) was written for the sixth birth- I KTS 152 would not have needed a score to perfom day of William, Duke of Gloucester, and the * Capriccio sopm Ruggiero da Napoli by such a popular ground. There are four short trumpet parts were played by John Shore. Ottavio Bargnani (l611), KTS 153, sections in this work; the first three are in The suite is comprised of three sections Edited David by Hogan Smith duple time and the quarta parte is in 614. with trumpet - Overture, Chaconne, and The Capriccio is a bit demanding in terms Allegro -- as well as a Larghetto section The King's Trumpetts and Shalrnes is a six- of endurance. There are few rests in any of without trumpet. Editions are available for member group that has done extensive the parts throughout the 112-measure piece C trumpet and keyboard as well as in B~ research into Renaissance wind-band music. but the range is not overly taxing. and F, to meet the needs of modem brass David Hogan Smith, the director of the players. The range is from low g to the 13th ensemble and editor of the King's Tnunpetts The Canzone seconda is a beautiful and harmonic, a2. The writing is typically and Shalmes Music Editions, has brought elegant piece of music. With longer phrases elegant Purcell. Steele-Perkins' instructive out a very large list of works fiom that than the Capriccio, the parts in the Canzone notes suggest that the tempi be vigorous and period. While the KTS Editions are moder- seconda lie in the middle-to-upper register ornamentation not overdone. Tasteful 1 ately priced they are also handsomely 1 and present a wonderful forum for a cornett cadential trills would be sufficient. Since produced on sturdy paper, and many come and sackbut ensemble. This piece has Shore himself was said to have produced a with both the original and modem notation numerous rests allowing brass players sound in these works that was "like the in the score and individual parts. These two ample time to relax their chops. Typical of chimpping of birdsong," it is suggested that editions are part of the new series of the early 17th-centu-yIta!ian canzona, this trumpeters play in a light and airy style. The Baroque music for brass ensembles that piece is very imitative and has several duple English school of this period is one of the I KTS Editions has published recently. As glories of trumpet writing. This edition with most of KTSE, this music comes with and triple sections. These pieces are a great start in the expanding list of this new KTS represents a fine example of that music, and the original and modern notation (score and we look forward to many more so we can I parts) as well as parts transposed down a Baroque Music for Brass Ensemble series. Any performer wishing to perform from peek further through the looking-glass into step for recorder ensemble. The two early notation would do well to try these or the brass world of Restoration England. editions in ths series by Bargnani are indeed a welcome addition to the repertoire. any of the other fine KTS editions. The new edition of the Fantini Eighteen Sonatasfor Trumpet and Basso Continuo Smith provides some background on Ottavio (1638) gives us a fiesh look at these Bargnani, who is not exactly a household important trumpet solos. It is interesting to name. He was born during the second half Musikverlag David McNaughtan Rogener compare them with Edward Tarr's 1971 of the sixteenthcentury in Brescia, studied Strasse 11, D-8630 Coburg, Germany, FAX edition, Eight Sonatas for Trumpet and with Floriano Canale, and in 1605 served as 09561-28886, tel. 09561-25586. Organ (Musica Rara 1277), as well as with organist at the cathedral in Brescia. In 1607 * Eighteen Sonatasfor Trumpet and Basso Henry Meredith's edition published in his Bargnani became organist at Santa Barbara Continuo by Girolamo Fantini, fine doctoral dissertation1.As with most Cathedral in Mantua under the patronage of MN30100. Edward Tam Brass Series. early 17th-centu-yinstrumental music, I Vincenzo Gonzago, Duke of Mantua. After I Edited by Irmtraud Krllger. Fantini's publication does not give perfom- he received his pension from hspost in * Suite From The Duke of Gloucester's ers much in the way of direction. Only eight Mantua in 1627, Bargnani served as Birthday Ode by Henry Purcell, of the sonatas indicate that the organ is the organist at Udine until his death. These two MN30044. Music For The King's desired continuo instrument, and of course editions are taken from his Secondo Libro Trumpeter Series. Edited by Crispian the single line continuo part must be fully delle canzoni da suonare a quatro, cinque, I Steele-Perkins. realized for a modem edition. Irmtraud I et otto voci, published in 1611 in Milan by Kriiger is a noted organist who has Tini & Lomazzo. As was standard practice, David McNaughtan has continued to produced continuo parts that employ larger I the collection was issued in separate part- 1 publish valuable natural trumpet music in note values and have less active and florid books (canto, alto, tenore, basso and these two series. Edward Tarr and Crispian lines than the earlier editions just keyboard prtitura). Steele-Perkins deserve special praise for the mentioned. The two different approaches fine quality of their respective publishing indicate a different view of tempo. Wger's I Smith suggests probable instrumentations projects. The Purcell work is another in simpler, more pareddown continuo part for a string or brass ensemble of two Steele-Perkins' series Music For the King's indicates that the tempi of these works is cornetts and two sackbuts. The brass Trumpeters. The subtitle states that this thought to be quick. The trumpet lines beg approach works beautifully. The writing is series presents "pieces written for, or at the tion which is of course, proper idiomatic of early 17thcentury brass music time of, the Sergeant-Trumpeters to the performanOrname% e actice. For the most part, I and the ranges are moderate (canto and alto King: Mathias, William and John Shore, Kriiger keeps the trumpet lines as written in I parts a to a2, tenor d to a', basso D - el). and Valentine Snow." Steele-Perkins has the original. Occasionally she gives an The Capriccio sopra Ruggiero da Napoli is presented us with a large body of published ornamented version printed above the , a curious work. There is a great deal of music that gives us a wonderful view and original line. The ornamented lines in this extremely close imitation whch results in opportunity to explore the trumpet music of edition are similar to Tarts earlier edition, an almost constant sense of tension in the

HBS Newsletter, Issue 5, Page 33 but not as notey as many of Meredith's are. * Musichefatte nelle nozze (1 539). ISBN 90- The motet Ingredere by Corteccia is the Again, Meredith's busier ornamented 6853-001-1, Price BF 770. or $24. (US). Order opening piece of the festivities and was versions suggest a slower tempo than No. 1B1. written for outdoor performance. An eight Knlger feels is appropriate. part piece, it was sung by twenty-four The appealing collection of duets contains singers and accompanied by four cometti Fantini was the most famous trumpet virtuo- 78 airs, and is handsomely published in two and four tromboni. The range of the two top so of his day and these works from his partbooks. In addition to the chalumeaux voices fit the treble cornett and the bottom and other instruments mentioned, natural I important method2 were the first sonatas for two voices might have been for alto or tenor trumpet and organ (or harpsichord). These trumpets or horns may be used on these cornett. Parts three and four go to low f works present the difficulties of natural duets. They are inventive pieces in D major, several times and once it descends to low trumpet technique that Fantini deals with in and the last two are for two trebles and el. The bottom four voices fit trombone his method. Two of the thornier issues are bass. The works are more dance-like in registers. These works are typical madrigals ornamentation and the playing of non- spirit than martial in tone, as the tmair of the period. They are occasionally chordal harmonic tones. Krilger addresses these in might logically indicate. The two parts are but mostly employ complex contrapuntal her revealing notes. Groppo and trillo are the same in terms of range (dl - b2) and they writing and exploit beautiful and expressive are equally strenuous. There are few rests, explained very fully in the notes to hs word painting. The madrigals in the inter- I edition (in German and English). This is the music lies high in the range for brass. medio give instructions for instrumentation particularly helpful since these ornaments Playing several of these airs in a row is by having the various nymphs and muses are often incorrectly performed. Even on rather demanding. It is interesting that cany various instruments. The tone painting recordings, the trillo is often mistakenly several of these pieces contain the non- in Intemedio V, Night, calls for four played as a modem trill. The notes also harmonic notes f' and a'. Either those trombones, and is particularly effective. include interesting biographical research by French trumpeters were very adept at Igino Conforzi. (An article on Fantini by bending notes in tune, or these pieces were An excellent study by Andrew Minor and Conforzi will be published in the HBS intended only for the other instruments Bonner itche ell,' unfortunately now out of Joumal v.5). The alternative trumpet line to listed on the title page. print, includes a complete modern transcrip the Sonata, detta dell'Adimari is one of the tion of the music, translation of the text, and rare times where it is less difficult that the In his notes to this edition, Paul Rasp6 historical overview of the cultural, artistic original. This piece call for the non-harmon- states that he believes these works were and musical aspects of the festival and the ic notes; f', dl, and low b. It descends to the first issued by the publisher Estienne Roger period. This was a party the folks back second harmonic low c and then jumps up between 1712 and 17 15. They are listed in home must have talked about for some time! two octaves and a sixth to the thirteenth the famous catalogue of 1737, brought out Not only were the finest talents in Florence harmonic, a2. The alternative line suggests by Roger's successor, Michel Charles Le called upon to contribute, but the event was that the trumpeter avoid all this nasty Cene. While no composer is indicated, full of symbolism that called attention to business and take the line up an octave. It's Rasp6 believes that they might be from the religious and political alliances. One of the nice that this edition gives us a choice. This pen of Jacques Philippe Dreux. Dreux is worthy objectives in early music is to gain a new edition in the Edward Tarr brass series one of the first composers to write for full understanding of a particular composer, helps us approach these works with many chalumeaux and a similar set of duets that geographical area, or of a period. Having a new ideas both in the ornamented trumpet he wrote is listed in the 1737 catalogue. collection of music such as the Musiche line as well as a new and interesting fatte nella nozze, along with surviving continuo realization. The Musichefatte nelle nozze is a signifi- documents of the time, provides a musician cant collection of fifteen madrigals preceded with the rare tools to glance into a long lost &&s by one motet composed in honor of Cosimo 1. Meredith, Henry M.,Jr., Girolamo Fantini's time and place. We might then gain a fuller Trumpet Method: A Practical Edition (Doctor of de Medici's ( 15 19- 1574) marriage of 1539 understanding of that time and perhaps of Arts in Music diss., University of Northern to Leonora of Toledo. This event is of great our own as well. Colorado, 1984). historical importance. With this edition, 2. Fantini, Girolamo. Modo per imparare a sonare along with surviving accounts of the Alamire is to be praised for the fine quality di tromba (1638), original copy in Florence, marriage, a complete description of a major Biblioteca Nazionale, facsimile edition with of these publications. Their 1993 catalogue Renaissance festival is detailed. Instrumen- English translation and commentary by Edward contains an impressive list of many other H. Tarr (Nashville, The Brass Press 1978). tation is described, a rarity in Renaissance facsimile editions from all periods of music. music. Eight madrigals composed as While facsimile editions can be outrageous- banquet music, as well as an intemedio ly expensive, these prices are very complete with text, music, and performance reasonable, and they even have a budget descriptions are included in this collection. series of interesting music. They also Alamire Editions, (Brussels Royal While all of these works are fully texted, it publish a large list of beautiful posters and Conservatory of Music Series) Paul Rasp6, is of special interest that the possible cards with musical themes. We hope they Johan Eeckeloo, Eugeen Schreurs, General instrumentation indicated includes the use continue to publish more brass music in the Editors. Postbus 45, D-3990 Peer, Belgium. of cornetti and trombones, as well as other future. FAX 01 1-63491 1. wind instruments. This edition is presented Notes * Airs b deux chalumeaux, dee in five part books and the collection consists of 4- to 9-part compositions by Francesco 1. Andrew C. Minor and Bonner Mitchell, A trompettes, deux hautbois, deE violons, Renaissance Entertainment: Festivitiesfor the ( ), deuxflu^tes,deux clarinettes, ou cors de Corteccia 1502- 157 1 Costanzo Festa Marriage of Cosimo I, Duke of Florence, in chasse. ISBN 90-6853-070-4.Price BF 450.00 ( 1480- 1549, Baccio Moschini (?-I 552), 1539 (Columbia, Missouri: University of or $14 (US). Published 1992. Order #: IV4. Giovanni Pietro Masaconi, and Matteo Missouri Press, 1968). Rampollini (1497-1553).

HBS Newsletter, Issue 5, Page 34 Cherubini work was performed on a D5000 K6h, Gennany, tel. 49 (0)2203-55355 Trompette demilune, an instrument he says or FAX 49 (0)2203-55910. London Gabrieli Brass Editions: Rare Brass was favored by cavalry regiments from When a rare manuscript or print of some Series Christopher Larkin, Editor. PO Box about 1780 until they were supplanted by long-lost music of a past master is found, 1825, London N20 9NU, England. Tel: 08 1- either keyed bugles or valved trumpets in 445-301 6. most of us respond with delight because it the 1820's. This instrument was bent back might provide a few more clues about the on itself so that it could be hand-stopped as * Zwdlfkleine stflcke fot 2 cornets, 2 horns, and secrets of past musical practice. These I is a natural horn. The trumpet part uses the bass trombone by Ludwig Maurer (1 789-1878), hidden time machines are rare, but Edward #RB 005 non-harmonic notes a', and b'. Evidently fl, Tarr informs us of an outstanding bit of * Pas redoublts et marches for natural the hand-stopping technique was not nearly information in this edition of the oldest trumpet, 3 natural horns, and trombone or serpent as successful on this short F trumpet, as it known piece of trumpet music in the clarino by Luigi Chetubini (1 760-1842), #RB 006 was with natural horns. The first horn part register. The time machine that brought us is the most prominent in these works and Christopher Larkin, director of the London this music was literally that, a time the colors from the non-harmonic tones Gabrieli Brass Ensemble and editor of the machine! At least it is a machine. It is, as make these strikingly effective LGBE, has been bringing out some interest- Tarr explains in the notes to this edition, "a compositions. Larkin recounts the genesis of ing and rare editions of 19th-centur-ybrass mechanical, ebony automat 33.4 cm high in this music. Cherubini composed six Pas music in his aptly named Rare Brass Series. the shape of a piece of tower architecture, I In addition to these two works, the series redoublks and two marches for Colonel von containing a balcony on which 10 bearded includes music by Dvorak, dbdy, Reicha, Witzleben, Commandant of a Prussian rifle trumpeters in the finest livery and with tall regiment which was serving as part of the Saint-Saens, and David (see Keith Polk's hats are distributed in two groups of five review in this issue). The Maurer and occupation garrison of Paris during the time each, left and right, lifting and lowering Cherubini are significant in that they are of Napoleon's abdication in 1814. their bannered trumpets, and an upper I works that demonstrate brief but historically Witzleben's brother happened to be the platform on which a black timpanist dornin- important transitions in brass music. Th~s Director-General of the Berlin State ates the scene. On the front side of the edition of the 12 Maurer pieces is a reprint Theater, and no doubt, Cherubini was eager miniature building the coat of arms and the of the original St. Petersburg edition, to have his operas staged there. In fact, in initials of Duke Wilhelm V of Bavaria published by Bilttner in 188 1. Larkin states 181 5 he was invited to become Director of (reigned 1579-97) can be seen, as well as in the notes to the edition that he believes the Royal Music by Friednch Wilhelm III. It the date, 1582. Within, 10 organ pipes of they were composed in the 1870's in St. seems his "networking" paid off. the reed variety are mounted on an iron Petersburg, where Maurer was Director of These pieces really bear the mark of a first frame and activated with a clockwork the French Opera as well as Inspector of I class composer. It is fascinating that brass mechanism. The Augsburg Trumpeterauto- I Music Schools for the Imperial Court. ensemble music that is often frankly pedes- mat with its silver and gilded brass figures Ludwig Maurer was a noted violinist as trian at best can really shine forth when it was built by the Augsburg clockmaker Hans well as composer for that instrument; he comes from the pen of a "real" composer. Schlottheim (1544/47-1625/26). The ~ also wrote string ensembles and three The ranges are moderate in these works, but automat played a single rhythmicized operas. For brass he wrote twelve Airs for there is much melodic and rhythmic interest melodic line in the clarino register along cornet and piano, and Morgengriiss, for 2 in all the parts. Because of the subtlety of with a sustained drone of a fifth. Tarr's I cornets, 2 horns and bass trombone. These the music, Larkin feels that the pieces are reconstruction is extremely convincing. He works are consistent with other brass not intended for outdoor use, but more begins a solo line in the low register accord- chamber works that came from the Russian probably were performed as entertainment ing to the practice Bendinelli suggests in his school, most notably the brass works of method of 16 14 and he ends with rhythm- in the officer's mess. The instrumentation is I Victor Ewald. The use of valved cornets and unusual, and the bottom voice was probably ically forceful lines in the accompanying horns had quickly taken hold and a substan- given to a serpent, which also adds an parts, reminiscent of the ensemble pieces of tial technique had been developed. This interesting touch. Metronome markings are Fantini and Bendinelli. One bit of magic early brass writing certainly led the way to given, and practically no two works have the that the automat was not able to fully reveal the explosion of brass chamber music that same tempo. Christopher Larkin is doing a was the role (no pun intended!) of the has come into full bloom in our own era. great service by bringing out these rare timpani part. The timpanist's clockwork Many of these 12 short pieces still have a 19thcentury brass works. The London mechanism was not able to be activated. martial quality, a hold-over from the brass Gabrieli Brass Ensemble has also recorded From an examination of the steering disc it fanfare tradition, but they are also lyrical several of the works in the Rare Brass was possible to determine that the timpanist I and seem to revel in the new-found chroma- Series on a fine modern brass recording, plays and rests at regular intervals and that tic possibilities. As is the norm for this Original 19th-Century Music for Brass he rolls his sticks almost entirely on one of period, the ranges are very moderate and the (Hyperion CDA66470). We look forward to the two drums. Since there is scant informa- pieces employ a wide range of meters and more historically important editions from tion or notation of early drum music, thls are quite varied rhythmically. These short this series. might offer us important information about works are musically very satisfying exam- percussion performance practice. This fine ples of the early brass ensemble tradition. edition with detailed notes on the history of the automat fid its maker is another The road to fully chromatic brass trumpets wonderful addition to the natural trumpet and horns did not take a direct course. * Aufzug Des Augsburger Tmmpetemuto- repertoire. It is important for its place as the There were many experiments that were maten von 1582 reconstructed for 5 or 10 oldest known clarino register trumpet music I tried; some worked and others were added natural trumpets and timpani by Anonymous. and is a musical!^ satisfying reconstruction. Tarr. to the pile of "best laid plans." Larkin Edited by Edward H. Published by --- JeJSrey Nussbaum asserts that the trumpet part in the Wolfgang G. Haas Musikverlag, Bahnhofstr. 13,

HBS Newsletter, Issue 5, Page 35 horn. The other camp took up the cause of Rdllig, the least known composer in this the valve horn, and centered on the group, has provided the most demanding * Solo pour cor et piano by Anton Reicha, distinguished player and teacher Meifred. concertos. The D Major Concerto is an edited by Christopher Larkin. Some of the younger composers joined in extensive piece, with quite florid effects Andante pour cor et orgue by Camille Saint- this fray. Charles Gounod even wrote a horn called for, especially in the first movement. s&, edited by Christopher Larkin, Rare Brass "method" which includes an extensive Arpeggiated passages abound, and are more Series, London Gabrieli Editions, 1992. PO Box introduction amounting to propaganda in intricate than those demanded by either 1825, London N20 9NU, England, tel. 08 1- support of the valved instrument. The young Quantz or Graun. The second movement, a 4453016. Saint-Saens weighed in with his Andante charming siciliano, requires wide skips to Concerto in D Major for Horn and String (probably written in 1854) for horn and the top of the range, and these must be done Orchestra by Johann Gottlieb (or Karl organ - which was evidently intended for a with ease and grace to maintain the lilting Heinrich) Graun. Edited by Viola Roth. valved instrument. Much of this piece is quality. Athletic hornists will love the first Concerto in Eb for Horn and String utterly convincing, especially with its light, motive of the concluding movement, with its Orchestra by Johann Joachim Quantz. Edited transparent melodic touches. The use of rising, spinning triplet figures right to the I by Viola Roth. returning melodic motives provide effective top of the range. Written high c is the top i Concerto in D Major for Horn and String overall coherence. The idiomatic writing is note demanded in the D Major Concerto, Orchestra and Concerto in Eb Major for splendid, both for the horn and the but the one in Eb is distinctly more demand- Horn and String Orchestra by Christian keyboard. Less successful are internal ing with regard to range. Several high d's ~ August (or Johann Georg?) R6llig. Edited by sections, evidently designed to show off are called for in the first and second Viola Roth. Published by Birdalone Music potential of harmonic shading (a segment in movements, sometimes preceded by rather .; (1989), 508 N. College Ave. #333-1, Bloomington, IN 47404. D major seems especially contrived and nasty leaps. The middle section of the last pedantic). This is an attractive but flawed movement, after a scattering of high d's, also A new batch of music by distinguished piece. calls for a written high e. These are showy composers in useful editions should bring a pieces. They certainly aren't easy to play, little cheer to the hornists among us. And Viola Roth has done a great service in but will probably be more satisfying for while none of the composers represented are making the repertory of the Lund University technically advanced players than either the quite first rate, there is much charming and manuscript available in performing editions. Quantz or Graun concertos - and they are worthwhile music here. The manuscript, dating from the mid- just as strong musically. eighteenth century includes some eighteen The Reicha piece (in Eb Major) will find an pieces for solo horn. The collection was Finally, some comments on the editions: especially ready audience, as it is the only brought to the attention of hornists thlrty these are not intended as "scholarly" I one in this group for horn and piano. The years ago by Mary Rasmussen, and a variety editions, but nonetheless provide a kind of Solo is in three main sections: an Adagio, an of studies have followed, notably by Urtext. No dynamic markings or articula- Andante and a concluding 618 Allegretto. It William Scharnberg (himself a fine player) tions are given beyond those in the manu- dates from about 1820, and Reicha - but this is the first attempt at a systematic script (this is a sensible decision in that obviously knew the capabilities of the edition of the music of the collection. these editions are designed for experienced 1 natural horn and wrote very well for the players who will prefer to work with clean instrument. It has some charming melodic The Graun Concerto in D Major is in three texts). The print itself is taken from a touches and is formally reasonably tight movements (ModeratolAdagio/Allegro), and manuscript, but the hand is very clear and is I (avoiding some of the diffuseness that mars is restricted almost entirely to the upper easily read. The page turns are well many of Reicha's more extended works). octave of the D horn (between the 8th and calculated, and fold-outs provided when the The edition is clearly and accurately 16th harmonics, a few lower g's are called going might get hazardous - a thoughtful printed. All in all, this is a nice addition to for, and nothing below that pitch). Even touch. One small quibble (if it might be I the late classical repertory, and players of chromatic changes are sparse (a few gb's called that) is that some disagreement has both natural and valve horn should add this and F#'s), but Graun still achieves a satis- arisen over the dating of the Lund collec- i one to their repertory. factory level of harmonic contrast. The tion. Roth avoids taking a stand on the idiomatic writing is adept, especially in that issue, but I would like to hear her views on While Reicha was a Bohemian, his mature figurations are not excessively difficult, but the matter. One might also note that all of career centered on Paris (after a stay in do make a good effect. All in all, this is an the dates proposed place the collection Bonn), and his Solo reflects the great surge attractive, competently written work. before about 1775 - during a period in in interest in music for solo winds that Competence is even more to the fore in the which one might expect a continuo part to swept through Parisian music halls in the Quantz Concerto in E~.The technical be provided. All these concertos call for early Romantic era. For many instruments demands are about the same as in the parts for 2 violins, viola and basso, and can this interest stimulated innovation -- French previous work, but with a little more clarity thus be managed with quite modest forces. trumpet players, for example, were among and focus to the melodic line. Quantz made Still, many of us would prefer the added the earliest to adopt the new valved good use of arpeggiated figures which are flexibility of having a realized continuo instruments. Hornists, however, split into well suited to hand horn technique. available (we could then perhaps do the two camps. One was tenacious B maintain- formally, however, the piece is diffuse, and piece with keyboard alone). Nevertheless, ing the natural horn tradition, and included one yearns for a stronger sense of direction. these are splendid, carefully prepared both Dauprat and Gallay, the two greatest This concerto is effective, but is character- editions. All hornists interested in the early players and teachers of their era. This wing ized more by solid craftsmanship than by repertory for the instrument should consider made its mark on composers - Berlioz, for dazzling imagination. adding these to their libraries. example, was startlingly conservative (if --- Keith Polk, University of New highly imaginative) in his approach to the Hampshire, Durham

HBS Newsletter, Issue 5, Page 36 - - I

Recording Reviews I

The Keyed Trumpet in Two Recordings of of the melody in the first movement of the instrument actually did have some currency I the Haydn Trumpet Concerto. 1) Trevor Concerto. Given that the instrument is at the end of the 18th century and the Pinnock and the English Concert with Mark essentially a natural trumpet with extra beginning of the 19th, especially in Austria, Bennett. Archiv 43 1678-2. Recorded 1990. problems, it is no surprise that its rebirth Bohemia, Italy, and Spain. Anton 1 2) Christopher Hogwood and the Academy would have to wait for the revival of the Weidinger, who commissioned the of Ancient Music with Friedemann Immer. technique of playing the natural trumpet. Concerto, was not the only accomplished 1 L'Oiseau-Lyre 4 17 6 10-2. Recorded 1986- Friedemann Immer, featured in the player. Paintings and drawings of the period i 87. Hogwood recording, and Mark Bennett, show that the keyed trumpet was not i soloist in the Pinnock CD, are among the uncommon in wind orchestras and other I Until recently, the prevailing mythology finest players today on the "original small ensembles. The instrument was about the keyed trumpet went something instruments" circuit in music from the actually fairly suitable for the requirements like this: The instrument was an anomaly, Baroque and Classical periods. of its time. By the end of the 18th century, I I almost one-of-a-kmd, hopelessly defective the natural trumpet was usually constructed but just playable enough to provoke Haydn The keyed trumpet is not to be confused with a more conical bore than earlier in the i to write one of his greatest works. One with the keyed bugle. The pipe of a B~ century. It had a more subdued tone and was accepted without question the idea that the keyed bugle has the same length and about less frequently used in the extreme clarino Concerto for Trumpet was not heard in all the same bore as a modem flugelhorn. Like register. Such a trumpet is less severely I its glory until it could be played on a valved a saxophone, both the bore and the size of compromised by the addition of holes. The instrument. I remember some album notes keyed notes also correspond to the hand- I the keyholes increase toward the bell in a I from the '50's that granted Haydn clairvoy- continuous fashion, so the proportions of the stopped notes in hand-horn technique, so ant powers in writing for an instrument pipe remain the same when it is shortened any irregular sonorities from the trumpets which did not yet exist. Several years ago, by pressing on a key. The instrument would at least be echoed by the horns. The on hearing that someone (Tarr, I believe) responds more evenly than a keyed trumpet, keyed trumpet's soft tone was no problem in had recorded the Concerto on a keyed and with its shorter pipe, is somewhat the small orchestras of the time nor was its ! trumpet, I reacted with amazement that easier to play. It lasted longer - well into lack of volume a handicap in playing the anyone would actually do this -- like the 19th century - especially in the United decidedly unhysterical music of the late running the Boston Marathon backwards. States. The keyed bugle's tone resembles 18th century. I~ My reeducation began when Caleb Warner, that of a flugelhorn, while the keyed a trumpeter and instrument maker in the trumpet sounds like a natural trumpet, The Immer/Hogwood recording dates from Boston area, played me tlus recording. It although its tone is softer. 1986-87, which is some time ago in authen- was fundamentally different from any other tic-instrument history. One senses an effort I had heard, and the results were highly It is easy to see why the keyed trumpet was to create the ambiance of a Viennese court musical. displaced early in the 19th century by the concert of 1800, with the small orchestra valved comet, the improved orchestral slide and its warm, intimate sound, apparently The pipe of the keyed trumpet is as long as trumpet, and the valved trumpet. But the not too closely miked, undulating through a the natural trumpet in the corresponding key. The holes work like the thumb or F and A hole on the modern natural trumpet -- they are just large enough to pop the standing wave at the point of the hole. The length of the pipe is effectively reduced and the rest of the instrument to the end of the bell functions only as a kmd of megaphone. The instrument has as many as five holes at different points, so that a complete chromatic scale can be played even in the octave below the point where the harmonic series ascends in whole steps. With all its holes closed, the keyed trumpet is just as hazardous to the user as the natural trumpet. Although the notes played with holes are reasonably stable, opening the keys changes the resistance of the pipe and adds to the already mortal danger of cracking notes or missing them entirely. The sonohty of the keyed tones does not quite match that of the natural harmonic tones, especially in the lower register, and the player must make adjustments for their duller tone. One of the worst notes is unfortunately the second note Keyed Trumpet Reproduction in G by John Webb

I HBS Newsletter, Issue 5, Page 37 pleasingly resonant but probably not very he shows great sensitivity to the attention to their objection. My ears don't large room. The first and third movements development of melodic line. In this respect always hear the magic in the back row, are played just fast enough to express both the legato possibilities of the keyed trumpet either. optimism and dignity at the same time, and are worth mentioning. Legato passages the second movement retains a certain sound unlike the results one would get with The strength of the style of recording that rhythnuc alertness through all the lyricism. either piston or rotary valves. The minute makes every instrument seem in the Though I have no academic credentials, I am "pop" between notes is gone, replaced by a foreground is that it can underline the prepared to pronounce the recording's sudden burst of resonance accompanied by expressive power of the performance. And attempt at authenticity a tremendous the almost inaudible clank of a pad. this is one expressive performance by Mark success. Perhaps what I am really saying is Bennett in particular. His mastery of the the recording speaks effectively to a fantasy The BennetWinnock version of the instrument is astonishing, and he shows a of Vienna in 1800 that is part of the Concerto was recorded in October of 1990. willingness to go to the limit of its possibil- emotional baggage of our own time. There's Mark Bennett played a keyed trumpet by ities in nuances of attack, dynanucs, and no harm done here. The film Gone with the Robert Vanryne, patterned after an tone color. I particularly admire the variety Wind may reveal to us more about the instrument made by Johann Jacob Frank in of his articulation, which seems totally 1930's that the 1860's, but it remains a Nuremberg about 18 10. This instrument has uncompromised by the extreme demands of powerful statement. four keys and is pitched only in Eb, with no the instrument. The recording reveals that crooking possibilities. It is probably slightly the attack sounds more diffise on the keyed Irnmer plays a keyed trumpet by Rudolf easier to play than the instrument used by trumpet than the modem trumpet, probably Tutz patterned after an early 19th-centur-y Immer, although it obviously can be used because the pipe is longer and the sound is Viennese instrument. It has five keys and in only in music written for the Eb keyed frequently coming from several points on this respect it appears to be similar to trumpet. Again, an appropriately small the instrument. The first movemei~tis more Weidinger's trumpet, whch could be orchestra was used for the recording. urgent and the second more languid than the crooked into a number of different tonali- Although there is an attractive room ambi- Hogwodhmer version. I do miss the ties. Of course, when thing is added the ance to the sound, the instruments appear to rhythmic serenity of the Hogwood record- proportional spacing between the tone holes have been miked more closely than in the ing, which succeeds in making me long for a must change, so the placement of the five Hogwood recording because they have more more orderly circa- 1800 world that probably holes requires some compromises and the presence. I do not find this necessarily never existed. The variety of tone colors of fingering for each note of the scale varies preferable but my taste in this regard is which the keyed trumpet is capable are depending on which crook is used. A keyed probably in the minority. Actually there is especially well revealed in the first two trumpet with crooks is especially difficult to only one moment in the first movement movements of the PinnocWBennett play. Why not build it in one key and play it when the vision of an orchestra at my feet is recording. in whatever key is required, since it is a replaced by that of an engineer pushing a chromatic instrument? The answer is readily slider. Everywhere else the balance seems The last movement of Bennett's recording is apparent on listening to Immer's recording. very natural although there is less of the a triumphant display of technical mastery in In the first and third movements in E~ the illusion of "being there" 200 years ago than the service of good musical interpretation. I dissonant notes and leading tones are almost is evoked by the Hogwood recording. should dispel once and for all the idea that always keyed notes while the resolutions are playing the keyed trumpet is a kind of stunt natural harmonic tones. The keyed notes After more than a generation of multi-track or Special Olympics of music. Mark Bennett have a darker, breaher, and more mysteri- pop recording, most instruments are and Friedemann Immer may have actually ous sound, especially in the lower register, recorded with a great deal of presence taken the instrument out of its historical which create a coloristic tension and regardless of the type of music being played. pocket and presented it as an alternative to resolution to go with the harmonic The public is thoroughly conditioned to the valved trumpet. Soon will we have resolutions. In the second movement the hearing recorded performances as if its ears modem compositions for the keyed trumpet? tonality changes to and briefly to cb. are inches from all the instruments at the The "color scheme" is often the reverse of same time. I am convinced that some of the Thanks to Fred Holmgren, Ralph Dudgeon, the other two movements, although the popularity of "authentic" instruments comes Franz Streitwieser, Alfred Willener, and second movement ends with the soloist on from the fact that their rather furry tones can Crispian Steel-Perkins for providing the fifth of the chord, playing a note which blossom in this type of recording. So-called information for this review. sounds melodically incomplete but coloris- "modem" instruments are designed for --- Peter Ecklund tically resolute because it is a natural purity of tone, evenness of response and harmonic tone. I remember a trumpet and clarity of projection - qualities which are piano edition of the Concerto in which the most appropriate for playing the large 994943449+&&&&&&&&& anomalous E~ was "corrected" to a more concert halls without amplification. Some of The horn is completely unique - final-sounding so that a recitalist's the people now buying Hogwood and admiring parents would not become con- Pinnock CD's were probably buying Fairport It can growl, it can sing, it can shriek. fused. Immer's beautiful tone reminds us Convention and Pentangle LPs in the 70's, But since it can pass that the instrument is still a natural trumpet, marvelling at the scratchy but arresting As a woodwind in brass, capable of a resonant, flutelike "buzz", so tones of traditional English folk instruments Is it proper to call it a freak? different from the modem trumpet, which miked to reveal every dent and burr in the --- David Goldstein quickly progresses from dullness to sound. These people may be the same ones 944444994+&&&&&&&&& stridency as air is pushed through it. He who complain about the sound of the shines in the upper register. Although his authentic-instrument ensembles that they performance is not technically flamboyant, hear in large spaces. I think we should pay

HBS Newsletter, Issue 5, Page 38 that history offered, but equally anxious to or newly devised figures (Gagliarda Tena, Gagliarde, canzone, e voluntan'es per provide the maximum distance between mm.33,49). Given the degree of arrange- themselves and the feared "taint" of ment necessary, it is hard to imagine that tromba e organo, Gabriele Cassone, natural trumpet and Antonio Frige, organ. Nuova Era Romanticism. this is a combination that Trabaci had in Record 7053. Recorded 1991. mind, nor does it seem to serve his music It is thus a novel twist that Cassone and well. Baroque trumpeter Gabriele Cassone and FrigC focus here on the repertory that they organist Antonio Frige bring formidable do. Least satistjling are the Italian works. Less problematic from the standpoint of talents to this recording of 17thcentury For example, three gagliarde are taken from transcription are the English voluntaries Italian gagliarde and canzone by G.M. Giovanni Maria Trabaci's I1 second0 libro whose trumpet melodies are just that: Trabaci, G.P. Cima, and G. Pietragrua, and de recercate et altri varij capricci ( 16 15), a trumpet melodies. As is well known, Greene 18thcentury English trumpet voluntaries by work whose preface explicitly refers to and Stanley's solo lines, though intended for Maurice Greene and John Stanley. The openended scoring: the trumpet stop on the organ, nevertheless I performances are uniformly impressive. [Tlhe second part of my various composi- stick closely to the overtone series and Cassone's fluent command of the high tions suitable fix performance on the organ idiom of the Baroque trumpet. They require register and his brilliant control are well and various other instruments now appear. little, if any, arrangement. Well established matched by Frige's polished articulation and (Here and below I follow the translation as staples of the repertory, these pieces here and selected edition by Roland Jackson receive hghly polished performances. deft handling of passage work. Both players [Berkeley, 1 9641.) favor a rhetorically shaped phrase whose However, one might question the wisdom of subtle dections gratifL at each hearing. Trabaci's "various other instruments' devoting nearly half of the recording to presumably implies instruments for which them. Even the heartiest of enthusiasts may Amid these accolades for rendition, the task would be idiomatic, a good be forgiven for finding 30 uninterrupted however, I must confess reservations about example of which is Andrew Lawrence- minutes of trumpet voluntaries - a rather the program they have chosen. With the King's 1987 recording of Trabaci on the uniform genre - somewhat tedious. And exception of a few interspersed solo organ arpa doppia ("Harp Music of the Italian this reaction is compounded by the pieces, the recording is devoted exclusively Renaissance," Hyperion CD A66229). familiarity of the selections themselves. As to transcriptions. Transcription has long Cassone and Frige render their version with the first half of the recording admirably been a Janus-faced issue for the historically great skill, although they move outside the seeks to expand the repertory for trumpet oriented performer, especially the trumpet- wellestablished idiom of the Baroque and organ, one must all the more regret that er. The frequent designation of composi- trumpet in the process. Moreover, in order the many lesser known voluntaries of tions per ogni sorte stromenti and the slow to render their version, their performing Stanley and Greene's contemporaries are l emergence of specific orchestration in the text becomes something of a gloss on the passed by here in favor of the tried and true, seventeenth century imply history's blessing original. For example, selective octave one more time. on the practice. However, increasing transposition by the trumpet inverts familiarity with historical instruments "of Trabaci's contrapuntal lines. And the Few indeed will not be impressed by the I all sorts" has at the same time heightened trumpet's free motion fiom one voice to stellar performing skills of the Cassone and our sensitivity to questions of timbre and another (soprano to alto, up and octave, for Frige; many will respond favorably to the idiom and their relation to the aesthetic instance), obscures the linear integrity of the enterprising spirit that sought out the "new" wholeness of the composition at hand. composer's score. Furthermore, the playabil- Italian works of the recording; and some, ity of the "trumpet" line occasionally (and myself among them, will hope for a less For trumpeters the issue became a keen one minimally) requires alteration of Trabaci's radical approach to transcription in future with the broad dissemination of the piccolo text in the form of omitted notes (Gagliarda endeavors. trumpet in the 1960's and 70's. I suspect that Prima, m. 25), a changed accidental -- Steven Plank, Oberlin College many players, newly equipped to ascend to (Gagliarda Seconda, m.45), and rewritten baroque heights, peered into the past for the first time, only to discover that the hoped- for cache of solo literature (especially for trumpet and organ) was frustratingly small- er and occasionally less sophisticated than they had suspected. Thus, oboe sonatas and the like, with a faint historical imprimatur ("they transcribed, after all") became the norm in some circles. The widespread popularity and availability of the natural trumpet in the 1980's laid some of this to rest. The appeal of the Baroque instrument, both in its timbre and historicity, led to a new interest in its distinctive repertory; because of its acoustical constraints, players were not tempted to look elsewhere. Additionally, the concept of transcription, with its unavoidable evocations of Liszt and Stokowski, was a "loaded" one for early practitioners of historical performance, anxious to take advantage of the flexibility

HBS Newsletter, Issue 5, Page 39 Balance between soprano and trumpet is have been sung by a boy soprano. (Butt cites generally excellent, although one naturally Joshua Rifliin's suggestion that the singer J.S. Bach: Cantata 51, Jauchzet Gott in wonders how much the recording engineer was one Christoph Nichelmann.) Frankly, I allen Landen. Julianne Baird, soprano. Barry (or editor) had to do with this. I say this find it difficult to imagine the piece per- Bauguess, natural trumpet. The American Bach Soloists, JeBey Thomas, director. Koch because in one or two spots the trumpet is formed in this manner, but it must have International Classics 3-7138-2H 1. Recorded 1990. nearly covered by the strings. A case in been done. Ms. Baird's voice is totally point is rnm. 19-2 1 of the opening move- convincing in this work, but no one would I don't believe in divine inspiration-not ment, where soprano and trumpet begin a mistake her for a boy soprano. Now, really, anyway. But in Bach's case, I'm duet in parallel thirds, joined shortly by the Hamoncourt's complete set of Bach's willing to make an exception. So many of first violin. For my taste, there is just not cantatas uses boy sopranos in many lus compositions seem absolutely super- enough trumpet here. At times you actually instances - a particularly memorable human: perfect in conception and flawless have to concentrate to hear the trumpet. recording is Cantata 61, Nun Komm der in compositional detail. Cantata 5 1 is such a This reinforces my belief that engineers Heiden Heiland - although a female work. Who can forget the brilliant concert* andfor editors all too often make unmusical soprano appears in his recording of Jauchzet style opening of the first movement, with decisions when it comes to balance. (incidentally, also a fine recording, with trumpet and strings in unison? Who can Don Smithers on trumpet). It would be forget the imitative dialogue between My principal reservations concerning this interesting to hear the cantata performed soprano and trumpet in the closing Alleluia? recording, however, have to do with the just once with a boy singing the solo. Where accompanying booklet. It just doesn't would we find such a boy? This is one area Furthermore, the CD reviewed here offers a provide enough information. Granted, liner in which an "authentic performance" is very stunning recording of the piece. The Ameri- notes (as they used to be called in the difficult to reconstruct. can Bach Soloists have developed an ancient days of the LP) are not the place to enviable reputation since their inception in launch into heavy musicological discus- As a final note, the high quality of this CD 1988. Their director, Jeffrey Thomas, is a sions. But there are a lot of questions leads me to hope that the American Bach sensitive, sensible musician with a fine surrounding Cantata no. 5 1, and John Butt's Soloists will add more of Bach's cantatas sense of Baroque style. The choice of notes merely hint at them. with trumpet to their list of recordings. soprano Julianne Baird and trumpeter Barry --- Stewart Carter, Wake Forest University Bauguess is a felicitous one, for they seem As with so many of Bach's cantatas, we admirably suited to each other. The accom- know relatively little regarding the earliest panying strings are also of the highest performances of Jauchzet. Bach wrote it for caliber. the fifteenth Sunday after Trinity, et in ogni tempo ("and for any [other] time"). Recent Ludwig van Beethoven: Septet in I?' major, ! For my money, Baird has no match among scholarship tentatively places its initial op.20 and Franz Berwald: Grand Septet in the world's sopranos in this repertoire. Her performance at Leipzig -- probably in gbmajor. Uppsala Chamber Soloists (Alf diction, her intonation, her sense of style September, 1730 -- although some move- Hbrberg, clarinet; Andrew Schwartz, bassoon; I Francis Orval, natural horn; Nils-Erik Sparf, violin; and line, are without peer. She sounds great ments may have been written a few years James Horton, viola; Lars Frykholm, cello; Staffan in the two movements with trumpet, but in earlier, perhaps in 1726. A performance at Sjbholm, contrabass). Bluebell ABCW33. order to appreciate the full range of her Leipzig during these years would of course Recorded 1987. musicianship, listen carefully to her drama- mean that the cantata was written with tic rendition of the recitativelarioso of the Gottfried Reiche, famous Stadtpfefer and It is ironic that in our own time Beethoven's second movement, and the wonderfully "Bach's trumpeter," in mind. In 1730, Septet in E-fit major, op. 20, for clarinet, I expressive siciliano of the third movement. Reiche would have been sixty-three years horn, bassoon, violin, viola, cello, and I Every budding young singer interested in old! John Butt cites Klaus Hofmann's contrabass, is not particularly well known. this repertoire should emulate Baird's suggestion that this cantata was originally The irony lies in the fact that, for good or I discreet use of vibrato. Listen also to the written as a birthday cantata for the nearby ill, the piece became the standard by which manner in which she changes tone quality court of Weissenfels, where Bach held an Beethoven's contemporariescame to judge for the simple chorale melody in the fourth honorary position. Does this mean that a all his other works. Composed in 1799-1800 movement, against the background of one of court trumpeter at Weissenfels - which had and dedicated to the Empress Maria the most beautiful violin duets ever written. a rich tradition of brass music -- played the Theresia, the Septet was first performed at a part on that occasion? Or did Reiche private concert at the house of Prince Bauguess is every bit Baird's match. His accompany Bach on this putative journey to Schwarzenberg, and later in public on 2 tone offers a perfect complement to Baird's, the town where the former was born in April 1800 in the Burgtheater as part of his intonation is excellent, and his accuracy, 1667? Could this have been a homecoming Beethoven's first public concert in Vienna. phenomenal. I am particularly taken with performance for the esteemed and venerable This event included, among others, the his style of articulation. In some recordings trumpeter? premiere of his First Symphony and a of this piece, the trumpet is, well, too "Grand" Concerto for Piano and Orchestra "trumpet-like" - in other words, too If the Weissenfels performance actually took (it is unclear whether this was the earlier- staccato, particularly in the fanfare figures place, the singer on that occasion -- being composed B-flat major concerto, op. 19 or which dominate the opening movement. attached to a court rather than a church - that in C major, op. 15). Bauguess' more ly~lcalapproach turns the probably was a mature female soprano. This piece into a true sopran*trumpet duet. His of course is the way all of us are accustomed The Septet was published in 1802, received trills, especially the long ones on gw,are to hearing the piece. But when Jauchzet was frequent performances far and wide, and very expressive. performed in Leipzig, the vocal part must enjoyed a popularity that extended far

HBS Newsletter, Issue 5, Page 40 beyond Beethoven's commitment to the style the idiosyncratic and expressive timbre of 83333-.9-.9~&&&&@&&&& exhibited in the piece. Indeed, according to the stopped G-flats produced by the natural the authority of the English musician horn in the introduction to the finale. Mozart Horn Concertos and E Major Charles Neate, Beethoven in 181 5 Fragment. Anthony Halstead, natural horn, and expressed unhappiness with the work's A performance of this work on modern The Hanover Band, directed by Ray Goodman. instruments does not give us this last effect, Rmded July 20-22, 1987, at All Saint's Church, persistent popularity. Testimony offered by Tooting. Nimbus Records, 1987. NI 5 104. Cipriani Potter and Carl Czerny supports which makes the ~resentrecording ". bv the Neate's allegation. The continuing popular- Uppsala Chamber Soloists on period Mozari Horn Concertos, Rondo K. 3 71, ity of the Septet was demonstrated when the instruments an especially welcome one. The Rondo K. 51 4. Lowell Greer, natural horn, and performance is first class by any standard. the Philharmonia Baroque Orchestra, directed by autograph manuscripts for Missa solemnis Nicholas McGegan. Recorded March 1988, at Lone and the Septet were sold after Beethoven's The ensemble work is impeccable through- Mountain College Chapel, San Francisco. Los death. The Mass was sold for sevenflorins. out, and the virtuoso violin playing of Nils- Angeles: Harmonia Mundi US4 1988. HMU The Septet fetched eighteen. Erik Sparf is particularly deserving of 907012. praise. The tone produced by hornist Francis Mozart Horn Concertos. Timothy Brown, Beethoven's Septet bears close kinship to Orval (playing on an instrument by Richard natural horn, and the Orchestra of the Age of the the chamber music pieces composed in the Seraphinoff, modelled on one by Rauoux of Enlightenment, let by Sigiswald Kuijken. Recorded eighteenth and early nineteenth century for 1820) may not be to everyone's taste, but January, May, June, 1989, at Boxgrove Priory, woodwind ensembles or mixed ensembles there is no faulting his technique or intona- Chichester. London: Virgin Classics, 1990. of winds and strings. These pieces were tion. Every nuance of the score is faithfully VC7908452. variously identified as serenade, divertimen- replicated and the tempos, even where Once upon a time (and not so very long to, or cassation. The number of movements indicated Adagio or Andante, move along at ago), the "arrival" of any horn soloist (or that comprised these pieces was variable, as just the right pace, as befits our under- soloist "wannabe") was measured by his or was the instrumentation. We have little standing of lateeighteenthcentury her recording of the Mozart horn concertos. specific information regarding the circum- performance practice. These pieces, as of now consisting of four stances that governed Beethoven's choice of "completed" works and portions of two instruments for the Septet, although it is Beethoven's Septet and its popularity inspired other chamber works for winds and others, were composed by Mozart in the last evident that the composer had virtuoso decade of his life and are considered by players in mind. We know the names of the strings, the most famous being Franz Schubert's Octet, D. 803. Louis Spohr also many to be the standards by which any horn musicians who participated in the Burgthea- player is measured. They are the foundation ter performance of 2 April. Beethoven's made a significant contribution to this repertory. Among the most interesting of every hornist's solo repertoire, used by all friend, the violinist Ignaz Schuppanzigh was teachers, and in many cases, are among the joined by Messrs. Schreiber, Schindlecker, progeny of Beethoven's model was the Grand Septet by the Swedish composer very first solos young horn players learn and Btir, Nickel, Matauschek, and Dietzel perform. (which instrument each of these gentlemen Franz Berwald ( 1796- 1 868), the other work played is not specified). that appears on the Uppsala Chamber It is a daunting task, then, to undertake new Soloists recording. The date of this work is recordings of these works, particularly when Not all the material in Beethoven's Septet uncertain. Berwald is known to have com- 43 recordings spanning over 40 years are was newly composed. The hrd movement, posed a Septet in 18 17, but the manuscript still currently available. It is, however, a for example, was lifted from the composer's is lost. Berwald's Septet of 1828-the work more interesting (though no less daunting) Sonata for Piano, op. 49, no. 2 composed in at hand-may have been a revision of the task to undertake these pieces using natural 1795-6, although Beethoven reworked this earlier piece, although scholars have been horn. The early pioneers of the challenge of material in the Septet. It is believed that the unable to verify this. We do know that recording pieces on natural horn, Hermann theme of the fourth movement is taken from Berwald was especially proud of the 1828 Baumann, and Horace Fitzpatrick, among a folk song, Ach Schiger, lieber Schzfler! Septet, which the New Grove Dictionary others, encountered many obstacles, such as although the earliest printed source for this biography on the composer characterizes as steel violin strings, inferior instruments, and melody (1 838) post-dates the Septet, the "most polished of [his] early works." uninformed conductors and players, but suggesting that the folk song may have nonetheless set the stage for the three been, in fact, derived from Beethoven. Berwald's Grand Septet is a work that has the virtue of revealing the influences that recordings discussed here. With the same Beethoven suggested to Hoffmeister and helped shape it-Beethoven, Hummel, pioneering spirit (and far fewer obstacles), Kihnel, the publishers of the Septet, that Schubert, Spohr, Mendelssohn, and Weber- Anthony Halstead, Lowell Greer and Tim- the wind parts could be transcribed for while, at the same time, retaining its othy Brown have stepped up with strong violin, viola, and cello. An unauthorized individuality. Here too, the playing by the supporting casts and demonstrated, beyond arrangement of the work as a two viola Uppsala musicians is impeccable. Indeed, any doubt, that the natural horn is no longer string quintet appeared in 1802. Beethoven Berwald's scoring is far more democratic a novelty. In each case there is not only an himself made an arrangement of the Septet than Beethoven's, offering opportunities for impressive, consistent level of performance, in 1805 as a Trio for piano, clarinet (or virtuoso display for all the instrumentalists. but also, when heard in close proximity, the violin) and cello, op. 38. Despite these More than Beethoven's Septet, Berwald's performances encourage some of the same alternative scorings, much of the wind work bears the characteristics of a miniature types of observations made when comparing writing in the Septet is characteristically symphony. The Uppsala Chamber Soloists' players of modern instruments - different idiomatic. A prime example is the opening superb rendition of it is reason enough to sounds, articulations, musical stresses, and of the Scherzo, the nature of whose recommend this recording to anyone. technical problem-solving. The differences, however, do not detract from any perform- arpeggiated theme seems inspired by the --- David B. Levy, Wake Forest University horn that is entrusted to play it. Along the ance; rather they reinforce the fact that same lines, no string instrument can match natural horn performance has reached a

HBS Newsletter, Issue 5, Page 41 level that encourages serious consideration momentum generated'by the bfisk tempos undesirable - this is a finely crafted and discussion. The instrument itself, can be troublesome to those who know the recording and worthy of repeated listening. thanks to these performers and others before works well enough to have their favorite A welcome addition to the program notes by them, has "arrived". ritards and accelerandos, but Halstead is George Gelles (in English, French, and never anythng but convincing. The aggres- German) is Gr&s short description of the Permit me to consider these three recordings sive, though never violent, quality through- horn he uses and its development. chronologically: first, Anthony Halstead out is fresh and lends clarity to the bigger with the Hanover Band. The selections are picture of each movement, even at the Last, and certainly not least, is Timothy presented in chronological order, NOT in sacrifice of certain, albeit personally biased, Brown's recording with Sigismond Kuijken numericaVK6chel order. This actually details. His cadenzas are long and involved and the Orchestra of the Age of Enlighten- creates an interesting, progressive effect, (very impressive!). And, on the practical ment. The orchestra, whch includes a few though it may be more psychological than side, the program notes by John Humphries, performers who contributed to Halstead's offering any aural clues to Mozart's musical though only in English, are informative. earlier recording, has a bigger string section development. The pieces included are Halstead, through this recording, shows a (e.g., 8 first violins vs. 5 with Greer, 6 with Concertos K. 417, K.495, K.494 (the E more joyous, extroverted approach to Halstead), and as a result the winds and major fragment), K.447, and the Concerto in Mozart whch, in his hands (or perhaps just harpsichord tend to be lost a bit. The overall D, the last to be "completed." This last his right hand), works. effect, however, is the closest of the three to concerto is usually numbered K.4 12 or if the traditional timbral expectations, yet still last movement is one of the later versions, Lowell Greex's recording presents not only a with the sense of leanness that only K.5 14, or sometimes both numbers are different horn sound but also a different historical instruments can obtain. Brown, used. In this recording, the last movement of blend of ensemble. The selections are like Halstead, also chose to present the this concerto is a reconstruction of the presented in a different order, according to concertos chronologically, including the K. manuscript version done by John Hum- Kochel numbers. Included is the K. 37 1 494A E major fragment as did Halstead, and phries. Halstead uses a Paxman copy of a Rondeau, a single movement from an the K.371 Rondo as did Greer. Brown does late 18thcentury French instrument, and if incomplete concerto, reconstructed for this not, however, include the K.5 14 version of one follows the pictures, it is an orchestral recording by Greer himself. Then K. 4 12, the D Major Concerto, and, acknowledging type of instrument. His sound is quite 4 17,447, and 495 follow, with the fascinat- other reconstructions, uses the Sussmay covered throughout, partly due, perhaps, to ing K.5 14 fragment included in the middle. version of the last movement for this record- the microphone placement, which separates The version chosen is a reconstruction by ing. The sound Brown produces using an the horn timbre from the rest of the orches- German hornist Herman Jeurissen, and is a early 19thcentury instrument by Paris tra. The effect, however, is quite interesting bit disorienting since Jeurissen chose not to maker Raoux, and considering microphone because, as a result, there is a clarity to the include winds, which is inconsistent with placement, etc. and the blend between the solo line, a significant evenness to the over- the original version of K.4 12. The perform- horn and the orchestra, falls, to my ears, all tone color, resulting from timbral consis- ances have no less energy than in the between Greer and Halstead - more tency between open and stopped notes. The Halstead recording, but the energy is covered than Greer but not as covered as stopped notes, with exceptions in the third directed into a sense of refinement rather Halstead - which actually causes the sound movements, sound more shaded than closed. than into an aggressive posture. In general, to be lost sometimes in the orchestra, Another noticeable characteristic of the tempos are slower (e.g., K.417 13:25 vs. particularly stopped notes in louder Halstead's recording is the briskness of the 1250 for Halstead,) lending more of a sense passages. Tempos, generally, also fall in tempos in every movement. The effect is of breadth to the music, which, depending between and Brown's playing has a breadth quite exciting and lends an element of on one's bias, can be very desirable, particu- that is both expressive and confident; he, enthusiasm to the soloist and to the Hanover larly since it affords Greer the opportunity like Greer and Halstead, is convincing. Band, particularly in the winds. The clarity to push and pull tempos a bit more as well There is come of the same elegance and of this recording is very enjoyable - the as add a few more improvised ornaments to some of the same aggressiveness found in distinctness of the winds, strings and the mix. The result is a feeling of elegance the other recordings, but clearly they are harpsichord gives a certain leanness to the and freedom to control the momentum of combined by a different personality. presentation, though traditionalists may specific musical moments. The sound Greer Brown's cadenzas are short and to the point, question the less-than-homogeneous blend. produces is lighter and more open, partly and his improvisations, though few, add Others (myself included) may find the due to microphone placement (seems to be refinement. The program notes for this difference quite interesting. Kudos to the closer to the bell, catching more of the recording, also written by John Hurnphries, oboes (Frank de Bruine, Lorraine Wood) for stopped timbre), and partly due to the use of are informative and translated into French adding a highenergy sizzle to the ensemble, a cor-solo instrument made by Greer and German. This recording, like the others, and to the harpsichordist (Ian Watson) who himself The result is a more homogeneous is a wonderful addition to Mozart recording, proves once again that less (and well- blend with the orchestra, though the horn worthy of repeated hearings. placed) is more. Halstead, however, is the sound is never lost. The mixing of the star, lending a noticeably English flavor to orchestra sound is different, too. The winds These three recordings, as stated above, the articulation, and creating marvelous still add sizzle, but they seem to be at more prove that the natural horn has come of age, mood swings in the hunting-horn third of a distance which helps the blend but thanks to performers like Halstead, Greer, movements. In these movements, Halstead takes away some clarity and variety. and Brown. They have given horn players adds an appropriate brassy edge to empha- Harpsichord is not used in this recording, new benchmarks to aim for, as well as new size the outdoor character. His lyncal which gives it a later "feel," and Greer's perspectives on Mozart's horn masterpieces. playing in the slow movements is especially cadenzas are shorter and less harmonically And the best part of all - through it all, they sensitive, and hsslurring, quite a challenge adventurous, though more stylistically each make great music!! between all the various hand positions, is consistent with Mozart's writing. The --- Jegrey Snedeker, Centml Washington smooth and impressive. Occasionally, the overall result, however, is in no way University, Ellensburg, WA

HBS Newsletter, Issue 5, Page 42 mination. Playing on authentic instruments Dwight's journal and mentions such well presents an even greater challenge due to known musicians of the period as Patrick The Yankee Brass Band: Music from Mid- their various inconsistencies. As a fi-equent Sarsfield Gilmore and Allen Dodworth. Nineteenth Century America. The American member of the Old Bethpage Civil War Robert Sheldon also discusses various Brass Quintet Brass Band. New World Records NW problems that arise when working with 3 1 2-2 recorded 198 1 (Vanguard's 23rd Street Brass Band (Long Island, NY), I am all too Studio, NY). Performed on period inslruments of the familiar with the various problems on such period instruments. For those interested in nineteenth-century fiom the collections of The instnunents. After hearing this recording, historical information on this period, these Metropolitan Museum of Art, Dorothy and Robert one can only be amazed at how these skilled program notes present a practical starting Rosenbaum, Robert Sheldon, and others. Includes musicians play with such ease and flexi- place. musical works fiom John F. Stratton scores (Library bility on these very difficult mid- 19th of Congress), Hosea Ripley manuscripts collection (New York Public Library), and Walter Dignam century brass instruments. In fact, if you The Arizona Quickstep, a perfect opening Manuscript Score Book (Manchester Historical were not listening carefully, you would selection to the recording, demonstrates a Association). 1 st Eb comet and leader: Raymond think they were playing on modern high level of both musicianship and Mase, 2nd Eb cornet: Robert Lang, 1st Bb comet: instruments. ensemble playing. Dynanuc contrasts John Aley, 2nd Bb comet: Lee Soper, solo Eb between sections of music, as well as a high tenorhordaltohorn: David Wakefield, 2nd Eb tenorhordaltohorn: Randal Ulmer, 3rd Eb While the altohom section plays on original level of musicality, sets the tone for the tenorhordaltohorn: Robert Sheldon, 1 st Bb mouthpieces, many of the other musicians entire CD. The more somber Bond's tenorhorn: Ronald Borror, 2nd Bb Tenorhorn: - used modem ones. Although some might Serenade begins with flashy runs by the E~ Benjamin Peck, Bb Baritone: Robert Biddlecorne, think that this would hinder the "authentic" comet, leading immediately into a Bb bass: Toby Hanks, Bb bass: John Stevens, drums performance, the decision to use modem homophonic choral section, only to be and percussion: Benjamin Harms and Daniel mouthpieces was strictly a matter of Druckman. further contrasted by a miniquickstep aesthetics. "Selection of mouthpieces has section. No One to Love presents some of Tippecanoe and Tyler Too: A Collection of always been determined by the individual the finest brass playing on the CD. Although American Political Marches, Songs, and player. While we did have some old it is just a simple ballad, the soft attacks, as Dirges. The Chestnut Brass Company and Friends. mouthpieces available to us, we decided to well as ensemble balance, make this love Newport Classic, NPD 85 5 548. Instrumental pieces use the sort of mouthpieces that would give song a pleasure to listen to. Probably the were recorded at the Samuel and Elaine Lieberman an appropriate sound and facility, regardless most virtuosic piece, the Blondinette Polka, Auditorium of the Germantown Branch of the Settlement Music School, Philadelphia, PA, March of whether it was modem or old," said is full of difficult passages for the comet 1992. Vocal pieces were recorded at the Recital Raymond Mase, leader of the ensemble. A section; with fast but clean double-tonguing Hall, SUNYIPurchase, April 1992. Personnel: The similar compromise occurs in the percussion and wide intervallic leaps. Special mention Chestnut Brass Company: Bruce Barrie: Eb keyed section. The bass drum used on this must go to the beautiful tone of the baritone bugle and Eb soprano saxhorn, Tom Cook: Bb recording is a modem copy because it was player in both loud and very soft passages. keyed bugle and Bb cornopean, Marian Hesse: too difficult to find an authentic bass drum natural horn, quinticlave, and alto saxhorn, Larry Bravo! Mabel Waltz, the longest piece on Zimrnerman: trombone and baritone saxhorn, Jay that suited the sound of the group. The the recording, offers many fine listening Krush: ophicleide and contrabass saxhorn. Assisted snare drurn is a replica of an authentic, mid- opportunities such as the full, dark sound of by: Ralph Buck: B~ cornopean, R.J. Kelley: natural nineteenth century drum. The minute the comet and baritone solos accompanied horn and alto saxhorn, David Vining: trombone and compromises on this recording do not, by by the well-balanced lower brass section. baritone saxhorn, Daniel Armstrong: snare drum, any means, take away from the original The intonation in the opening unison Nicholas D'Amico: field drum and bass drum, Susan Jones: cymbals. The singers: Linda Russell: mezzo- intention of recreating the sounds of the passage deserves particular praise. The soprano, dulcimer, and guitar, Patrick Romano: mid-nineteenth century, because it is Helene Schottisch, a more homophonic tenor, Frederick Urrey: tenor, John Ostendorf: bass difficult to prove exactly what types of selection, clearly demonstrates how the baritone, Rudolph Palmer: fortepiano, piano and mouthpieces were used for specific ensemble pays particular attention to tenor. instruments during that time. For instance, dynamic contrast and balance between solo it would be hard to imagine that the and tutti sections of music. These afore- The advancement of modem technology has mouthpiece found in each instrument case mentioned musical characteristics are heard helped pave the way to a clearer, more (from this collection of instruments) was again in the lovely performance of the enjoyable way of listening to music. The CD used primarily for that particular instru- American Hymn with just the right balance player has been an instrumental vehicle in ment. Therefore, one can't assume that all of percussion. A more virtuosic Red not only producing better audio clarity but mouthpieces used during the mid-nineteenth Stocking Quickstep precedes the Mocking- also converting older recordings originally century were uniform from one band to bird Quickstep, which features the E~ comet released on cassettes and LPs onto compact another. Many professional freelance player executing mocking bird sounds with discs. Now many people can enjoy older musicians would agree that a mouthpiece is complete ease and ilexibility. Memories of recordings without the hisses and scratches simply a compromise, no matter what job Home Waltz and Schottische both found on LPs and cassettes. This recording, you are playing. incorporate the all-important dance quality The Yankee Brass Band, represents such an one looks for in these types of pieces. Two example. First recorded in 1981 on LP, it Jon Newsom offers a general overview of comets are featured on The Moon is Above was then transferred onto CD just a few band instruments and music before and after Us, which demonstrates the musician's years later. Superbly engineered by John the Civil War in the program notes. This ability to sing expressively through their Kilgore, Tom Lazarus, and Randy Brown, nineteen-page article is taken from his essay instruments. This is then contrasted by the this recording exemplifies some of the finest entitled "The American Brass Band Move- more fanfare-like triple-tonguing of Bnn mid-nineteenth century brass band playing ment," which appeared in The Quarterly d!4mour Polka. After the delightful ballad (on original instruments) available on CD. Journal of the Library of Congress (Spring Goodnight My Angel, the Fireman 's Polka 1979). Chock full of information, Newsom (employing fire department bells and even In general, brass playing requires a great sites several quotes from John Sullivan deal of practice, perseverance, and deter- singing from the ensemble) proves to be the

HBS Newsletter, Issue 5, Page 43 appropriate closing selection of the drum and bass drum u*d are nineteenth- (with rotary valves, for example) to another recording. After one listens to the CD century reproductions, while the field drum (with keys and pistons) without interruption, it becomes obvious is dated early twentieth-century. The that carehl programming was involved, so cymbals are pre-WWI. Owners names and The vocal selections featured on this CD that contrast between pieces could be places of origin for each instrument are include superb performances by professional achieved. included within the program notes. Special folk-singers, accompanied at times by dulci- thanks were given to Steven Dillon/Dillon mer, guitar, piano, and even forte-piano. This very successfbl project, made up of Music and Mark Elrod for the use of their Casting singers of this type instead of opera musicians willing to go the extra step to instruments in this recording. singers helps recreate a more "authentic" bring forth music of the mid-nineteenth performance. Too often opera singers century, deserves a great deal of praise. Of the nineteen selections performed on this attempt a vocal style out of their genre, such Interest in recording this type of music recording, seventeen include brass and are as jazz or pop, and find themselves began while putting together the album, divided into four types of ensembles struggling for the right nuances. This simply Music of the mid-1800's (Titanic, TI8 1), according to size and instrumentation: is not the case here. These musicians pro- which consists of the American Brass quintet, sextet, large ensemble of eleven vide a very satisfjmg folk-like performance Quintet with the addition of a tuba. The players, and a larger ensemble consisting of of nineteenth-century songs. Yankee Brass Band recording marks the twelve players. Different instrumental second project incorporating music devoted combinations are used throughout the I recommend this recording for anyone who to this very special era and it should be in recording and are mentioned in the CD's is particularly interested in hearing different every brass player's music collection. accompanying booklet. In my opinion, the combinations of brass ensembles which most successful performances consist of the feature several contrasting sound qualities. For centuries, music has been used for a eleven- and twelve-piece ensembles. Two in Of course, we will never know exactly how variety of different social, religious, and particular include General Taylor Storming this type of music was performed, but it is political functions. During the American Monterey and Fillmore Quick Step, both imperative that we, as instrumentalists, help Civil War, music was composed specifically incorporating over-the-shoulder saxhorns, maintain an active interest in this very to uplift the spirits of men in combat. In the cornopeans, and percussion as well as important genre of American music, just as Middle Ages, music was incorporated into middle-range instruments. In fact, most of preservationists help contribute to the the church service in order to highlight the selections that incorporate this conservation of historical buildings such as certain parts of the mass. Music was also aforementioned instrumentation (especially the Old Bethpage Village Restoration on used for political purposes to rouse over-the-shoulder saxhorns) are fairly Long Island, NY and the Richmondtown participation in the upcoming elections. convincing performances. On the other Restoration on Staten Island, NY (to name a Th~swas particularly true of American hand, the ensembles involving keyed bugles few.) The Chestnut Brass is a vital music composed during the period 1793- are less convincing, particularly General organization in preserving American 1880 which the Chestnut CD represents. In Taylor's Gallop and General Ham'son 's because of its reputation as being the only 1828, the electoral procedure changed Log Cabin March and Quick Step, where brass ensemble that performs regularly on dramatically. It was hsvery year that John intonation and accuracy are problematic at such a wide array of these authentic Quincy Adarns and Andrew Jackson were times. One possible hypothesis for this instruments. This CD, featuring music competing for the Presidency and candidates discrepancy is the use of mis-matched sets predominantly of American political were obligated for the first time to appeal of brass instruments. This element marches, songs and dirges, marks the primarily to the American people. The jeopardizes not only a uniform tone quality group's fourth nineteenthcentury recording objective of this recording is to give the but also accurate intonation. But the dark project. We hope other historical endeavors public an idea of what kind of music was and clear tone quality each player achieves will follow. composed during this political time and how on these instruments, whether uniform or --- Rodger Lee, Brooklyn College, it might have sounded using authentic not, is particularly noteworthy. I would CUM Grad. Center instruments of the period. recommend a matched set of brass instruments for this specific instrumentation The array of instruments used on this CD is involving keyed bugles staggering. The brass section consists of (although it is often more both reproductions and authentic difficult to obtain them instruments of the 19th century: Ebkeyed than to play them). On a bugle (9 keys, c. 1844), C keyed bugle more positive note, the (crooked to Bb, 6 keys c. 1830), Bb use of these contrasting cornopean (3 Stdtzel pistons, 1 key c. 1844), instrumentations adds to Bb cornopean (3 Stdtzel pistons, late 19th the variety of the CD. century), 2 different natural horns (crooked Also, each member of the in E~,reproductions by Lowell Greer), 2 Chestnut Brass doubles different Bb tenor trombones (both c. 1875), (and sometimes triples) Eb soprano over-the-shoulder saxhorn (3 on other instruments, and rotary valves, c. 1865), Eb alto saxhorn (3 therefore deserves rotary valves, c. 1865), 2 Bb bantone over- particular praise for the-shoulder saxhorns (both with 3 rotary histher ability to change valves, c. 1865), and an Eb contrabass over- from one instrument the-shoulder saxhorn (3 rotary valves, c. Common Problems: An Unsuitable Mouthpiece 1865). In the percussion section, the snare

HBS Newsletter; Tssue 5, Page 44 The fact that these selections are "hitsHalso PalestrinalBach Missa Sine Nomine and creates problems, however, particularly works by Kuhnau, Pezel, and Reiche. Cities, Courts, and Countryside: Secular when the listener remembers clearly his or Concerto Palatino. EM1 Classics CDC 7 54455-2. Music ofthe Renaissance Circa 1500. The her own "versions" or different editions of Recorded 199 1. Cometti - Bruce Dickey, Dorm Hampshire Consort. HAM001 Recorded 1992. the pieces. Occasionally, tempos, rhythrmc David Sherwin, sackbuts - Hany Ries, Charles Department of Music, Paul Creative Arts Center, Toet, Yuji Fujimoto, Wim Becu; natural horns - University of New Hampshire, Durham, NH 03824. interpretations andficta choices raise eye- Piet Dombrecht, Claude Maury; violin - Margaret brows (and questions), but the renditions by Urquhart, harpsichord - Jacques Ogg; organ - Klaus After learning to play some cornett and the Hampshire Consort generally fall within Eichorn. sackbut a few years ago, an ensemble familiar ranges of performance. Inevitably, invited me to join, presenting me with a related questions also arise regarding blend, These three recent releases are mainly of looseleaf notebook full of music the various intonation and articulation, but again, this German Baroque music and contain some members had acquired. The pieces were ensemble holds itself together quite well. outstanding performances. There is some compiled from many sources and collec- The recording quality and editing of this extraordinary playing on these recordings by tions, and I was not only impressed by its disc is generally good and clean, though many of the leading European early brass bulk but also by the number of styles and occasionally dryness and topheaviness virtuosi. Many of the works not only contain composers represented. I looked forward to creep in. Clearly, hsrecording was made attractive brass writing, but are also impor- learning all of them. Atter several months with great care, though sometimes this care tant in the history of brass music. Most of and performances, I began to realize that leaks into the performance itself: serious, these works also demonstrate the wriques- there were some tunes we would never play, fmused efforts to play together and in tune tionable influence Italy had on northern and there were others that would show up at times sacrifice a bit of the spirit of composers. While Michael Praetorius on every program, whether in concert or as particular pieces, especially in some that ( 157 1- 162 1 ) never studied in Italy, he had background "wallpaper" music for parties, receive only a limited number of verses. The absorbed the florid Italianate style and the gatherings, etc. I wondered about this for reverse can also be said for other cases. four motets from his P~l~vhymniaCaducea- awhile, but then I noticed that other ensem- Nevertheless, the Hampshire Consort trix et Paneayrica ( 16 19) demonstrate the bles of similar instrumentation had also provides us with a useful. competent blend of the German hymn tradition and the ~ arrived at similar repertoires. I figured that recording. All cornett and sackbut ensemble newly developed musical language from these must be the "hits." players should own a copy, if only to relive south of the Alps. 1 the "hits" one more time. The Hampshire Consort's recent contribu- --- Jegrey Snedeker, Central Washington The In dulci jubilo in this collection, is one tion to cornett and sackbut ensemble State University, Ellensburg, WA of the earliest German works to use trum- recordings proves to be a similar catalogue pets. It is scored for 5 natural trumpets and of secular "hits" fiom around 1500. It also is taken directly from the 16thcentury I reads like a basic repertoire list of instru- trumpet ensemble tradition. It is composed mental numbers and transcriptions of vocal with a masterful touch. Praetorius's impor- music used by cornett and sackbut ensem- Schittz Christmas Story (SW435) and tant theoretical work, Syntagma Musicum bles of this century. Th~sfact, however, Praetorius Motets from Polyhymnia ( 16 19) refers to many works in the Poly- does not detract from the appeal of this disc; Caduceatrix et Paneayn'ca ( 16 19). Tavener hymnia, and gives us vital performance Consort, Choir, and Players: Andrew Parrott, practice information. Praetorius says that rather l~kea retrospective of hits from a Director. EMICDC 7-47633-2. Recorded 1985- favorite performer, it actually makes this 1986. Soloists in Schiitz - soprano Emma Kirkby, improvised trumpet intrada should be recording more desirable. The selections tenor Nigel Rogers, bass David Thomas. Tavener included in various places throughout In offer a sampling of styles in six sets, drawn Players: violins - John Holloway, Sarah Bealby- dulci jubilo. On this recording Andrew from as many locales: Venice (i.e., publica- Wright; violas - Colin Kitching, Sarah Cunningham, Parrott has very effectively used Hugh tions of Petrucci), the Glogauer Liederbuch, Alison Crum; bass viol - Mark Caudle, William Keyte's arrangement of several Cesare Hunt, Richard Campbell; bass violin - Jennifer and the courts of Medici, Henry Vm, Ward Clarke; Violone - Francis Baines; recorders - Bendinelli fanfares. The performance is Ferdinand and Isabella, and Maximillian I. Rachel Beckett, Marion Schott; dulciane - Frances absolutely stirring but, as Don Smithers has The ensemble is made up of faculty Eustace; natural trumpets - Michael Laird, Crispian pointed out, not completely in keeping with members and a recent graduate of the Steele-Perkins; sackbuts - Susan Addison, Trevor Praetorius's instructions. Praetorius states University of New Hampshire, and the Herbert, Charles Toet, Richard Lister; cornetti - that the trumpets should be placed outside Bruce Dickey, David Stae theorbo - Jakob variety of wind instruments and instrument Lindberg, Nigel North; organ - John Toll. the church, thereby creating the impression combinations is standard but appealing. that the sound is coming from heaven it- Perhaps most impressive is the stack of Symphoniae Sacrae I ( 1629) Heinrich selfl. The present rendition takes a different cornetti Robert Stibler brings to the Schiltz. Concerto Palatino - Bruce Dickey and much more resounding approach: the ensemble. While the other members, Director. Accent AC9 178-791). Recorded October trumpet entrances shake the rafters rather 28-November 1, 199 1. Sopranos - Barbara Borden, Nicholas Orovich, Paul Merrill, and John Nele Gramss; Alto - Rogers Covey-Crump; tenors - than sounding like a heavenly message. Rogers, demonstrate various capabilities on John Potter, Douglas Nasrawi; bass - Hany van dm sackbut, recorders, and krumhorns, it is Karnp. Concerto Palatino: cornetti - Bruce Dickey, Wachet auJ: nzft uns die Stimme is i Stibler's versatility (five types of cornetti, Doron David Sherwin; violins - Thomas Albert, performed with spell-binding virtuosity on plus alto sackbut, recorders, krumhorn, Irmgard Schaller; recorders - Peter van Heyghen, the part of cornettists Bruce Dickey and I Marcel Ketels; trombones - Charles Toet, Sue shawm and gemshorn) that is most Addison, Harry Ries, Wim Becu; curtals - Bernhard David Staff. They take the intertwining 16th noticeable in this area. The ensemble Junghhel, Regina Sanders, Birgit Siefer; natural note passages at a breathtaking tempo. It is handles all instruments equally well, but trumpet - Johani Listo; chitarrone - Stephen Stubbs; interesticg to note that whle Dickey and their aflinity for brass is evident. organ - Klaus Eichorn. Staff use drastically different equipment

HBS Newsletter, Issue 5, Page 45 (Staff uses a large trumpet-type mouthpiece There ire twenty pieces in this work, mostly Palatino offers along with Bach's Motet 0 and Dickey uses an extremely small settings from the Old Testament, and the Jesu Christ, mein's Lebens Licht, music of "historical" mouthpiece), they achieve a expressive quality is outstanding. Perhaps Bach's predecessor at Leipzig, Johann very beautiful and well-matched sound. In the most famous of these pieces is Fili mi, Kuhnau ( 1660- 1722), and music by Wie schdn leuchtet der Morgenstem the Absalom, a work often described as a true Germany's two most famous Stadtpfeeifer, cornetts and sackbuts have a more masterpiece. The text is taken from the Johann Pezel ( 1664-17 16), and Gottfried supportive part, playing the hymn tune after book of Samuel and is as poignant as one Reiche ( 1667-1734). Again, Concerto each contrapuntal vocal section. could find. King David's mournful plea on Palatino offers a flawless and musical the death of his son is masterfully scored for performance. Schiitz's Christmas Story (SW435) forms solo bass, four trombones and continuo. the major part of the Parrott recording. The Concerto Palatino plays Absalom in the The Palestrina mass is a beautiful example Italian influence in the music of Schiitz original key, which is a whole step lower of his seamless flowing contrapuntal style. (1585-1672) is more direct, the great than printed in the modern edition of Bach's orchestra does nothing to detract German composer having gone twice to Italy Schiitz's Neue Ausgabe Sdmtlicher Werke. from the gorgeous and seamless melodic to study, where he learned the style of The bass soloist, Hany van der Kamp, and flow, but adds color which somehow makes Giovanni Gabrieli. Parrott gives the listener the trombonists play magnificently, as one it even more appealing. According to Dickey a beautifbl rendition of this work along with would expect from this group, but I found in his revealing notes, Bach altered this more great brass playing. Not all of the their performance to be somewhat work in three ways; the addition of a parts from the Christmas Story have restrained. A work that has been described significant number of harmonic moderniza- survived. Andrew Parrott and Hugh Keyte as one of the greatest elegies ever written tions by means of unorthodox musicaficta, have reconstructed the missing parts, could have been given a more expansive a reworking of the text underlay, and the including the missing trombone part from addition not only of a wind ensemble but - reading. the Intermedium V. That trombone part is also of a continuo group. The transformation particularly convincing bdthis section was Perhaps the first composer to demand a high is stunning. Bach's musical additions make well played by trombonists Susan Addison c3 for trumpet was Schiitz in his settings of it a much more interesting listening and Trevor Herbert. The trumpet Intermed- Buccinate in neomenia tuba and Jubilate experience for me. Concerto Palatino's ium VI section is flawlessly performed by ~eo~.Bruce Dickey and Johani Listo play performance is brilliant. Michael Laird and Crispian Steele-Perkins. the cornetto and natural trumpet lines in In rather demanding trumpet writing, the these two festive pieces brilliantly. The The Sonatinas and Fugas from Gottfried parts range from G to c" and contain several cornetto and trumpet imitate each other, Reiche's Vier und Zwanzig neue Quatricinia f sharp's. The score has the indication requiring the players to have total control mit einem Comett und drey Trombonen "Herodes Bassus solus cum duobus Clarinis over the tonal aspects of their instruments. (Leipzig 1696) and Johann Pezel's pieces vel Comettinis b 3." Since trumpets have The soft and fluid cornetto at time needs to from Hora Decima Il.iusicorum Lipsiensium been an ancient symbol of royalty, it is most match the martial quality of the trumpet, (Leipzig 1670) are staples of the modem fitting to use this instrumentation to and the brighter trumpet needs to occasion- brass ensemble repertoire, and it's a accompany the text of King Herod. The ally match the lighter quality of the cornetto. pleasure to hear them on the original concluding piece, Beschluss, is more in the These two master performers meet the instruments by this preeminent group. German hymn style and employes technical demands with apparent ease and (Readers should note the article in this issue trombones. As with all the pieces in this give the listener a real sense of the by Holger Eichorn on the rediscovery of the recording of Christmas Story, it is possibilities that these instruments can Reiche works previously thought to be lost.) wonderfully expressive and magnificently offer. When playing in the high register, which performed. these pieces often call for, the cornetts The setting of In te, Doniine, speravi is achieve an extraordinary brilliance. The In his interview in the 1992 HBSNL #4, recorded here in the original tonality, a sackbut ensemble is rock solid. The Reiche Bruce Dickey said that he wanted Concerto fourth lower than that given in the Neue pieces are taken more slowly than often Palatino to do more large scale works with Ausgabe San~tlicherWerke. It is played by heard and the introspective quality is voices and large instrumental forces. These Bruce Dickey on cornetto, Charles Toet on effectively brought out. These are not light two CD recordings are wonderful examples trombone, with continuo, and alto soloist compositions but works that contain much of his plans. Let's hope they keep coming. Rogers Covey-Crump. They give an power. Considering the remarkable skill in The playing that this ensemble produces is especially sensitive reading to this piece. this ensemble, I would like to have heard stunning. Sjmphoniae Sacrae 1 ( 1629) not This recording has everything that a listener more ornamentation, particularly in the only has great brass writing but contains might want; a work of masterful quality, brighter compositions. some of the greatest music of the early outstanding vocal forces and some of the Barque. Th~swork was the product of preeminent musicians in the field. The The Bach motet 0 Jesu Christ, mein's Schiitz's second trip to Italy in 1628, where ensemble demonstrates precision and Lebens Licht (BWV 1 18) survives in two he further absorbed the style then being projects a coherent musical expression. versions. As Dickey tells us in his notes, established in Venice by Claudio Montever- one calls for cornett, three sackbuts, and di. Specifically scored for many instru- Concerto Palatino's latest recording, two litui. A later version substitutes strings ments, including mute cornetti, curved PalestrinalBach, contains one partially and oboes. It is not known what the lituo is. cornetti, natural trumpet, trombones, as well Italian work. Partially Italian because (The word lituus refers to a Roman as other winds and string instruments, Palestrina's Il.iissa sine nomine was copied trumpet.) These lines however, fit well for Sjmphoniae Sacrae I is in many ways an out by J.S. Bach and the great cantor natural horn, and Claude Maury and Piet homage to the colorful instrumental writing orchestrated this piece with cornetti and Dombrecht perform the difficult and high of Gabrieli. trombones. It is this version that Concerto parts admirably. This is a brooding piece, as

HBS Newsletter, Issue 5, Page 46 only Bach can write, and as with all the Plunkett's recording was the first of the Carl 2. Smithers, Don. The Music and History of the works on tlus CD, Concerto Palatino Biber sonatas. To set the record straight (no Baroque Trumpet before 1 721. Carbondale: performs it magnificently. They continue to pun intended!), Tarr's recording predated it Southern Illinois University Press, 1988. pg.347. achieve the very highest musical perform- by many years. The works by Biber and son ance standards. We can only hope that are exceptionally demanding and Tan's Concerto Palatino will continue to present playing is extremely fine. Not only are these Book Reviews more of these large-scale and beautiful works written in the high register (e3), but works from the Renaissance and Baroque. there are non-harmonic notes to deal with. I The Adagio in Carl Biber's Sonata a 9 has The French Horn by Jeremy Montagu. Shire Notes the trumpet cadence on a whole note b'. Publications Ltd.Buckinghamsh'ue UK, 1990. ISBN 1. Nussbaum, Jefiey. "First Annual Historic Brass 0-74780086-3. Price f 1.95.32 pages. Symposium" IZG Journal Vol. 14, No. 1, Another work of special interest is the elder September, 1989. P. 39. Biber's Sonata X which is in the unusual Brass Instruments by Jeremy Montagu. Bate 2. Tarr, Edward H. The Trumpet. Portland, Oregon: key of G minor. The trumpet writing in this Guides to the Bate Collection of Historical Amadeus Press, 1988. P.103. piece is haunting. As a long-time advocate Instruments, University of Oxford, Faculty of 1 Music, St. Aldate's, Oxford. Price f 1.00. 1 1 pages. of historical unequal tonguing techniques, Tarr executes the long sixteenth-note Peflonning Baroque Music by Mary Cyr. passages with a refined and delicate quality. Amadeus Press 9999 S.W. Wilshire Portland, OR Baroque Trumpet Music from Austria. The Several of the works call for a solo clarino 97225 USA FAX (503) 292-6607. ISBN O- part with accompanying trumpet ensemble 93 1340-49-7. Published 1992. Price $34.95 Schola Cantorum Basiliensis Trumpet (companion casse#e tape, $1 0.00). 256 pages, 3 1 Ensemble, Edward H. Tarr Director. and strings. The result is splendid. The musical examples and 1 1 musical scores. Deutsche Harmonia Mundi - Schola Schola Cantorum Trumpet Ensemble plays Cantorum Docurnenta Series. HM85 1-2. these works with impressive precision. Music For Trumpetsfrom Three Centuries Recorded 1986. Works by Riedl, H. Biber, (c.1600-after 1900) by Albert Hiller, translated C. Biber, Reutter, and Anonymous. Natural Other works on this CD are a Sinfonia by by Richard A. Lister. Wolfgang G. Haas Musik- Georg von Reutter (1708-1 772), some verlag Bahnhofstr. 13, D5OOO Kiiln, Germany, trumpeters: Edward H. Tarr, Edward M. tel. 49 (0)2203-55355, FAX 49 (0)2203-55919. Cervenka, Mark Sykes, Gilles Rapin, anonymus pieces, and two compositions by Published 1993. ISBN 3-928453-04-1.260 pages. Anthony Plog, Igino Conforzi, Anders Bartholomaus Riedl (fl. 1680-1688). The Hemstrom, Roland Callmar. anonymous and Riedl works are found in an We owe Albert Hiller a great debt of thanks interesting manuscript from the Nonnberg for this wonderful book and we are doubly I The Schola Cantorum Series on Deutsche Abbey in salzburgl. These works are scored fortunate that it has been translated for the Harmonia Mundi has presented many for four trumpets and timparu. Amazingly English speaking audience. The book is outstanding Schola faculty members playing enough some of the Riedl pieces are cradle- intended for the performing musician. It is extraordinary but seldom-recorded reper- rocking tunes. This is a centuries old not a scholarly tome, but rather an extreme- toire. Virtuoso Ornamentation Around 1600 tradition at Nonnberg. Don Smithers ly useful resource book, easy to read and (1C 165-99 895) and Agetti Musicali (I C conjectures that the nuns actually played in easy to find information. It is an annotated 06599917) are two fine examples. On this the trumpet and timpani ensemble2.It is a listing of compositions for 1-24 trumpets recently released CD recording natural curious image however, thinking of an with and without timpani. Hundreds of trumpeter Edward Tarr performs solo works ensemble of trumpet-playing nuns, playing works are mentioned, 194 musical excerpts and directs the Schola Cantorum Trumpet cradle songs to a room full of little children. are included, and there are many illustra- Ensemble in Baroque music from Austria. Among the nuns at the Abbey were Sister tions. Most entries include an interesting Tarr gives us some rather sensitive Maria Rosa Henrike, a sister of Heinrich historical summary of the work and period performances of music deserving of much Biber, and later, Sister Maria Magdalena and biographical information on the more attention. Carolina, a grandchild of Biber. Tarr and composer, library source, modem editions of his wonderful ensemble ably demonstrate the work, and recordings of the work if The works of father and son Heinrich Ignaz that natural trumpets can have a soft and applicable. The book is divided into three Franz (1644- 1704) and Carl Biber (168 1- gentle singing quality. parts; the 17th century, 18th century, and 1749) are some of the most exquisite brass 19th century. Each section is further divided compositions written during this period. The Austrian Baroque brass tradition by geographical area and the entire book is certainly deserves more attention and this Their music comprises the majority of this well indexed. There is an informative I fine recording. Heinrich Biber became admirable recording by Edward H. Tarr and synopsis, listing method books, works I Kapellmeister in Salzburg after his tenure in the Schola Cantorum Natural Trumpet according to various categories, and Kremsier. As Kremsier was one of the Ensemble deserves much praise for high- instrumentation and size of ensemble. There leading centers of brass music, Biber was lighting this under represented literature. is an essay on reproductions of historical probably influenced by the great brass The ensemble playing was very tight, in natural trumpets, a partial listing of natural virutosi working there. Heinrich Biber is tune, and all together polished. Tan's solo trumpet makers, careful and detailed certainly not a household name, and Carl work is musical and sensitive and he information about publishers and how to Biber is even less known than his father. maneuveres through some of the most obtain the works listed. Wolfgang Haas has Lowrey 's International Trumpet demanding repertoire with brilliance and a 24-hour number that can be called to Discography lists only four artists who have apparent ease. obtain music. This is clearly a book recorded his trumpet works. Unfortunately, --- Jefsrey Nussbaum intended for practical use. Many of the this recording by Tarr was not listed in that Notes musical excerpts are complete pieces and all good of discography. H.M. Lewis, in his review of 1. Denkmdler der Musik in Salzburg, 1 are long enough to give one a sense Paul Plunkett's fine CD, Baroque Trumpet (Salzburg 1977). the character of the work. Much of the and Strings (HBS Newsletter #4), stated that historical information uses the writing of

HBS Newsletter, Isme 5, Page 47 Edward Tarr (who wrote the preface) and player, teacher, or listener. The book $$$.dW.dW+&&@&&&&&@ Detlef Altenburg; and Hiller is scrupulous contains eight chapters: Performance in giving credit throughout his book. Hiller Practice and Baroque Sound; Tempo and The Night the Camel Sang by Edna White calls for readers to inform him of works not Spirit; Dynamics; Pitch, Tuning, and Chandler. The New Arnberola Phonograph included in this book which might be added Temperament; The Basso Continuo; Company, 37 Caladonia Street, St. Johns- in a future edition. It is in the very nature of Articulation; Rhythm and Notation; and bu~y,VT 05819 Pub. 1990,98 pages $1 1.95. bibliographic work always to find new Ornamentation. There are also four material (thank goodness for that!), but in appendices, including: Bibliographies and Edna White Chandler was a formidable the meantime, Albert Hiller's guide to the General Studies of Performance Practice; female cornettist and trumpeter who, after trumpet ensemble repertoire is a fantastic Pre- 1800 Sources; Credits for Musical making her Carnegie Hall debut at the age item to have handy on one's bookshelf. Examples and Tables; and a section of 1 1 of nine in 190 1, went on to explore the scores, many reproduced in facsimile, that workings of the vaudeville circut, make Jeremy Montagu, the curator of the famous illustrate various 17th- and 18thcentury recordings for Edison, and eventially Bate Collection of Historical Instruments at musical conventions. A cassette tape of assumed the rank of elder-stateswoman of Oxford, has written a fine and usefbl over- many leading early music ensembles playing the trumpet. I consider myself fortunate to view of the horn. This concise book covers these works is available. have met Edna. I interviewed her for an many of the main aspects of the history, article in the International Trumpet Guild construction, and performance practice of Because of the similar nature of the books, Journal (December, 1990). When I arrived the horn. There are numerous photos of the it is natural to compare this work with in Greenfield, Massachusetts to ask beautiful instruments in the Bate Collection, Robert Donington's A Per$ormer's Guide to directions, the first resident I met gave as well as charts and illustrations. He touch- Baroque ~usic'.Even though they cover directions and informed me that, "Edna still es on the subjects of horn acoustics, hand- similar ground, the two works complement has all her marbles!" I soon learned that stopping techniques, famous makers and one another. Donington places more empha- Edna had more "marble" at ninety-eight their instruments, and repertoire; and lists sis on discussion of the actual instruments than many people do at the age of twenty. museums through out the world that house and goes into more detail concerning Blessed with a near photographic memory, important horn collections. The thorough theoretical matters. Professor Cry's focus is she described events in her career as if they nature and modest price of this book makes to provide a clear overview of major issues, had taken place only days before. Edna it a wonderful educational tool for teachers giving the reader a sharper sense of each passed away last summer, but she was able of music and music history. musical realm. Topics are very well to enjoy the publication of this little book. explained in each chapter, and appropriate In a Christmas card to me, she joked that The Bate Collection puts out an excellent charts and illustrations are provided. At the she would be delaying her Christmas series of Bate Guides of musical instru- end of each chapter are citations, a celebrations until March when she expected ments. The Brass Instruments pamphlet in bibliography, and explanation of major her first royality check from this book! this series covers many important facets of aspects of the literature cited. brass instrument history. A brief history, The Night the Camel Sang is a collection of important innovations, technical aspects, While this book does not specifically deal short stories that recount Edna's career in acoustics, and repertoire for each instrument with early-brass issues -- in fact, it barely vaudeville in the 1920s. Her son was four is given. Not only is the European brass mentions brass music - the musical issues years old when she married for the second instrument family dealt with but a short are pertinent to all instruments. Particularly time. She had met Torcom Bezazian while chapter on non-western "brass" instruments well explained are the chapters on pitch, they both were making records for Edison. is included as well. Again, this publication tuning and temperament, and ornamenta- A trumpet soloist and an opera singer were is perfect for teachers to use in their music tion. Cyr provides examples from primary an unlikely combination in the concert halls classes. This Guide would be appropriate source tutors and theoretical works and of those days, but vaudeville welcomed for any level from junior high on up. explains them in a straightforward manner. them with open arms. They developed a That she does not deal with brass instru- popular act and were soon rated as a When sorting through the enormous amount ments to any degree is a drawback. The "feature" for the "Big Time," which in of performance practice literature, both chapter on articulation suffered in vaudevillesse meant three shows a day primary and secondary sources, it's easy to particular. Had this chapter dealt with (rather than the four or more stage shows of lose sight of your goal as well as your cool! treatises addressing cornetto, sackbut, and the small-time houses), more free time, This composer always starts a trill this way, trumpet articulations, a fuller view of that more money, and top billing. The book but this other composer never starts it that topic would have been reached. Also, the consists of eighteen short chapters, an way. There seem to be endless ambiguities. index is rather incomplete. These are minor epilogue, 34 photographs, and eleven You can do it this way or do it that way, or, criticisms. Professor Cyr has written a poems. The stories, which are arranged turn it upside down and inside out and try it valuable book. It helps sort out major issues chronologically, tell of Edna's romance with that way!! Help! Well, help is here with of Baroque music performance practice by Torcom - a meeting of two strong-willed Mary Cyr's fine new book, Per$onning explaining the major primary as well as individuals who just happened to be Baroque Music. Professor Cyr does not secondary literature. The 11 musical scores musicians. Torcom eventually had the eliminate the confusion entirely, but she further elucidate the various subtle opportunity to return to the operatic stage in does help narrow down and put the challenges facing musicians today. Paris in 1927 and Edna, who had joined him performance practice issue of Baroque --- Jeffrey Nussbaum in Paris to study voice, made the difficult music more clearly into focus. choice to return to the United States and Notes continue her work in vaudeville. She effectively introduces major issues of 1. Donington, Robert. A Performer's Guide to Baroque performance practice for the Baroque M~lsic(rev. edn. London, 1978). serious early music performer, modern

HBS Newsletter, Issue 5, Page 48 Much of this book was written in the 1980's, musical history, however, and Chandler Edna could always tell a good story. It's too and it may be of more interest to those who gives us a good feeling for the working bad that she is no longer with us to tell us are looking for background material on conditions, the artistic standards, and the more. vaudeville than to brass players. Vaudeville diversity of performers who stnitted their --- Ralph Dudgeon, Cortland College, SW was a fascinating development in American stuff on the Big Time's stages.

- NEWS OF THE FIELD compiled by Jeffrey Nussbaum

Ifyou have news of concerts, publications, The wind and ceremonial music cited Amherst College was founded in 2 82 2 and recordings, instrument collections, sym- includes published tutors (including horn, received a charter Gom the Commonwealth posia, or workshops, please send notices to keyed bugle, trumpet, fife and drum); of Massachusetts in 1825. The Frost Library Historic Brass Society, 148 West 23rd collections of social and ceremonial music; has a book Student Life at Amherst College, Street #2A, New York, NY 10011 USA. arrangements for wind band; field music published in 1871, which describes the TellFax (212) 627-3820 or e-mail , manuals and collections, both printed and Paean Band as having been formed on [email protected]. corn manuscript; individual marches and pieces March 17, 1824. (It's name, obviously, is relevant to the wind band; military regula- taken from the God "Pan".) The serpent, as Early American Wind Music National tions containing bugle, trumpet, fife and well as other instruments of the band, "were Tune Index drum signals; and horn signals for the hunt. furnished by the liberal contributions of A major project of indexing all American This data base is fully compatible with both students and faculty." Thus it has not music is well underway and phase two, phase 1 of the National Tune Index, 18th been possible to trace records of purchase to Early American Wind and Ceremonial Centuly Secular Music. The microfiche determine the origin of the instrument. The Music, 1636-1836, has been compiled by Index costs $1 80. Contact: University Music Paean Band first appeared in public at an Raoul F. Camus. This project is a computer- Editions, PO Box 192, Ft. George Station, exhibition given by the Junior class on May generated seven-part index of 20,64 1 cita- New York, NY 10040. (212) 569-5393. 1 1, 1824, and then performed at the tions taken from 304 sources from the Commencement of 1824. Records indicate United States, Canada, United Kingdom, Serpent "f;"oundWat Amherst College the band flourished for several years but Ireland, Germany, Belgium, Sweden, and Imagine my surprise when I received a call then dissolved on August 19, 1828 - only to France. This enormous enterprise is recently from Jeff Nussbaum informing me reappear August 24, 1829 as the Amherst I published in microfiche form and is equiva- of an original serpent at Amherst College. I College Band. The total membership of the lent to about 5,000 pages. There is an immediately called my good friend Willis emphasis on the roots of early American Bridgegam, Director of the Frost Library at wind band, field music, percussion, and Amherst College (and, incidentally, a fine ceremcnial music. For that reason, Hessian, organist with a degree in performance from French, and British sources form a major the Eastman School of Music) to see what portion of the data base. The period covered he knew about it. With his help, and that of runs from 1636 (Mersenne's Hamonie his staff, the following details were Universelle, to 1836 (Samuel Cooper's A uncovered. An original serpent - maker Concise System of Instructions and Regula- unknown - is presently housed in a display tions for the Militia and Volunteers of the case in the Amherst Alumni Gymnasium, US). where it has apparently resided since the The seven indexes from the data base are: gymnasium was built in 1935-36. It is I. Source Index - bibliographic and content made of wood with the usual fingerholes information on American imprints, manuscripts, and two keyed levers. The mouthpipe is and European instrumental collections. intact but there is no mouthpiece. Inscribed 2. Text Index - titles, first lines, tune names, and on the instrument in what appears to be refrains. white ink is the following: 3. Music Index - incipits in scale degrees. serpent 4. Music Index - incipits in stressed note sequence. used by 5. Music Lndex - incipits in interval sequence. Paean Band of Arnherst College 6. AuthorPerformer Index from 1 824 to 1 828 7. Theater Works Index - name of the dramatic or large-scale work in which the compositions appeared.

HBS Newsletter. Issue 5. Page 49 Paean Band over its four year history was the strange, Organized Obsessions covers Serpent Discography 29 members, and there is no indication that the downsizing of American culture by tak- United Serpents has released the following there was more than one serpent player. ing a look at 1,001 associations representing serpent discography. Z.C. Montague, a former member of the millions of individuals... Organized Obses- Berlioz, Gmnde symphoniefunebrk et Amherst College Band, wrote on November sions is a book for those who just like to tnomphale; Nimbus NI 5 175; The 18, 1869, that the band flourished until browse and contemplate the unusual, the Wallace Collection; serpentist: Stephen Wick. commencement of 1834, "after which it unlikely, and the occasionally underground died and its instruments and other proper- micro-slices of everyday life." As proud as DeCaurroy, Missa Pro Defunctis; - ties became scattered." Where the serpent US was to be included the Encyclopedia of EratoIMusi france 2292-45607-2; Ensemble Vocal Sagittarius; serpentist: resided for the next hu~idredyears, until its Associations, ong gratulations may not be in Bernard Fourtet. present home in the Alumni Gymnasium is order for acceptance into Organized Obses- Fress-und SauJIieder der Renaissance; unknown. Gotta run - just heard there is sions. Pride is not necessarily instilled as Musica Mundi 3 1401 1 ; Musica Canterey another serpent recently seen at Williams one examines other entries - American Bamberg; serpentist: Enrique Crespo. College, Williamstown, MA. I will keep you Association of Aardvark Aficionados, Handel, Royal Fireworks Music; informed. Annette Funicello Fan Club, Sugar Packet Vanguard VSD 71 176; English Chamber --- submitted by Ron Bell, Amherst, UA Collectors Club, International Dull Folks Orchestra, Somary. Unlimited, American Council of Spotted * Handel, Royal Fireworks Music; ASD United Serpents as an Organized Asses, and the American Collectors of 3395; London Symphony Orchestra, Obsession Infant Feeders, to name just a few. Perhaps Mackerras. United Serpents has delighted in adopting a the sole consolation is that the editors' Hamonie und Janitscharenmusick, rather atypical administrative demeanor. critique of US was certainly not as scathing Accent ACC 8860 D; Octophoros; Instead of attempting to build membership as that of most other entries. However, serpentist: Andrew van der Beek (also in order to obtain grants in order to then United Serpents may wish to begin Musical Heritage, MHGS 5 12700Y; stage musical events (the procedure for most monitoring new member applications. Music for Harmonie and Janissary Band). music organizations), United Serpents --- submitted by Craig Kridel Le Chant du Serpent (avant garde jazz); decided to skip the first two steps and just Label la Lichere LLL37; Michel Godard; proceed to stage its events. In fact, until Serpent Represented at the 1992 serpentist; Michel Godard. 1992 one could not officially join US; International Tuba-Euphonium Mendelssohn, Symphony No. 3 instead, members learned of their "induc- Conference "Scottish;" Calm Sea & Prosperous tion" through the reception of the Newsletter Craig ffidel was invited to present a Voyage, Nimbus 53 18; The Hanover for US. Within this "administrative frame- serpent clinic at the 1992 ITEC, May 12, at Band; serpentist: Alan Lumsden. work," US proceeded to organize and/or the University of Kentucky, Lexington, KY. Music of Francis Johnson and assist in the organization of four interna- The conference was sponsored by T.U.B.A. Contemporaries; Music Masters MMD6- tional serpent events, commission five The intent of the clinic was to present an 0236F; Chestnut Brass Company; serpentist: Jay Krush. compositions (including an official P.D.Q. historical overview of the serpent and Bach work and two full concerti), appear on contemporary serpent activities and to Musique Pour Les Instruments Anciens; CBS S612381; Le Florilegium Musicum NPR's Morning Edition (twice), Pe$om- portray the serpent within its four musical De Paris; serpentist: Frantisek Pauk. ance Today, ABC national radio and the settings--sacred, orchestral, military, folk. Under The Greenwood Tree: Music from BBC, receive coverage in USA Today and Audio, video, and photographic presenta- the Time of Thomas Hardy; Saydisc The London Times, and perform on one tions were coupled with live performances SDL360; Mellstock Band; serpentist: occasion for an audience of 60,000 people. of West Gallery Music and compositions by David Townsend. Not bad for an organization with no Handel, Josquin, Seiber. ffidel was joined Villancicos; Scalenldisc/Ariane1 52; Les objectives! by Ronald Davis and James Woodrum on Saqueboutiers de Toulouse; serpentist: euphonium, Nan McSwain on piano, and Bernard Fourtet. What US has been equally, if not most the Beaumont (KY) Presbyterian Church The London Serpent Trio: proud of, is the fact that it is included in Choir. Approximately 200 conference Sweet and Low; Titanic Ti-100; London Gale Research's Encyclopedia of Associa- participants attended the clinic, and all were Serpent Trio; serpentists: Alan Lumsden, tions, premier directory of more than impressed by the two major themes of the Chstopher Monk, Andrew van der 20,000 associations in the United States. session-- 1) that the serpent is meant to Beek. Recently, however, a collection of the more blend into an ensemble and 2) that the Christmas Cheer, CMS Recording; peculiar societies, all drawn from the natural partners of the serpent include London Serpent Trio; serpentists: Alan Encyclopedia of Associations, has been bassoon and voices. The session has Lumsden, Chstopher Monk, Andrew published as Organized Obsessions; 1,001 resulted in the establishment of a regular van der Beek. ODeat Associations, Fan Clubs, and serpent column in the T.U.B.A. Journal, to Fill Your Glasses; Convivial English Microsocieties You Can Join (D.M. Burek be edited by Craig Kridel and Clifford Glees; Saydisc SDL 36 1; London Serpent and M. Connors, editors; Detroit: Visible Bevan. The serpent clinic was dedicated to Trio; serpentists: Clifford Bevan, Ink, 1992). As the editiors state in the the memory of Christopher Monk. Christopher Monk, Andrew van der preface: "From the surreal to the serious to Beek.

HBS Newsletter. Issue 5, Page 50 Serpent Celebration 1590-1990; Dog first harmonic) using a mouthpiece as large that the 420-page manuscript, written Rose Sound DR 13930; London Serpent as that of a tenor trombone. Then followed a entirely in Berlioz's own hand, would Trio and Guests; Serpentists: Clifford session with slides about trumpet resurface. But according to Berlioz scholar Bevan, Phil Humphries, Alan Lumsden, symbolism in iconography as well as Hugh Macdonald, it is here and it is Christopher Monk, Andrew van der different types of instru Berlioz. The work was found in the church Beek, and 53 guest serpentists. ments from antiquity to the 18th-cent~u-y. of St. Charles Borromaeus in Antwerp by an Contact: United Serpents; PO Box 89 15 During the afiernoon, Smithers presented an organist, Frans Moors. While searching in I Columbia, SC 29202 introduction to the natural trumpet for the the organ loft of the church for a Mozart modern trumpet students of the score that he needed to play in a concert, Don Smithers at Lyon Natural Trumpet conservatory. Then J.F. Madeuf explained Moors found an old bound volume labeled Seminar his own practicing system, mostly based on Messe Solennelle Par H. Berlioz. The work, The Conservatoire Superior du Musique de Fantini's Method. Graham Nicholson, written when he was only 20 years old, Lyon is the only conservatory in France that distinguished trumpet player and maker, evidently did not please Berlioz. Even currently has a natural trumpet class. It is presented his latest copy of a natural though it is a youthful work, it does show directed by J.F. Madeuf. Professor Madeuf trumpet by Riedl. This fine instrument had signs of the mature musical genius of is a purist and when he began natural excellent intonation (even F and A) and Berlioz, most particularly in his instrumen- trumpet he decided not to make any opened some possibilities to playing without tation. The Mass employs large forces. The compromises and play the real natural holes and being in tune! The day ended with full brass section in addition to the usual trumpet (without holes). He has his trumpet a recital given by the students of the scoring of the day has a variety of low brass class do the same. Because of his reputation conservatory, all playing quite convincingly instruments such as serpent, ophicleide, and as the first and still one of the few natural without holes. This day was a great event, buccin (the special type of trombone in trumpeters who has explored the possibility the beginning, I hope, of a new generation which the bell is fashioned to represent a ! of playing in the original way, Don Smithers of trumpet players using real instruments. dragon.) The Mass will be published by was the invited guest speaker at the First --- submitted by Gilles Rapin Biirenreiter-Verlag, edited by Hugh Mac- Natural Trumpet Seminar, held on March donald. Performances by the Orchestre 8th, 1993. In the morning Smithers set forth Lost Berlioz Mass Discovered - Brass Revolutionnaire et Romantique and the I his observations and ideas about the Instruments Featured Monteverdi Choir directed by John Eliot techniques of playing and equipment used Stephen Wick has sent us an article by Gardner are planned to be held in Paris, i in the 17th and 18thcenturies, giving some Hugh Macdonald from the March 13,1993 Bremen, and London in October. The work answers to the problems of playing the issue of The Independent that describes the is to be recorded by Philips. "bad" notes. For example, many of the exciting discovery of this lost manuscript. In mouthpieces from that time are large and it his famous Memoirs Berlioz declares that he Iaan Wilson Obtains David Munrow seems easier to bend the notes when using bumt his first major work, the Messe Archives these mouthpieces. He also demonstrated Solennelle, composed in 1824 and Trumpeter and cornetto player Iaan Wilson his technique of practicing based on a non- performed twice in Paris in 1825 and 1827. sent us some news of his activities, reminis- pressure method. This system gives him Because of this and other references to his cences, and plans for the important Archives more than four octaves (starting from the buming the work, it is even more startling of the late David Munrow. Iaan Wilson plays trumpet in the Orchestra of the Royal Opera House, Covent Garden. He is profes- sor of trumpet, comett, and natural trumpet at the Trinity College of Music (whose principal is trumpet player Philip Jones) and teaches cornett and natural trumpet at the Royal Academy of Music in the brass department led by John Wallace. Prior to his position at the ROH Wilson spent fourteen years in the BBC Symphony Orchestra and was also an active free-lancer on natural trumpet and cornetto. He writes, " The natural trumpet and cornett are my real enthusiasms. My first memory of playing cornett was with Don Smithers at the Queen Elizabeth Hall and of making a record of the Basil Lam version of the Monteverdi Vespers. I was lucky to be at the forefront of the revival of interest in early music in the 1960's and became one of the first members Authentic Performance of David Munrow's early music group,

HBS Newsletter, Issue 5, Page 51 playing in many concerts and recordings, musical instruments and music. We are anonymous American ophicleide. The including the revolutionary book and record about to embark on the longer and more ensemble expects to include Dan Heinman, set, The History of Early Musical Instru- complicated investigation into the folders an organic chemist and euphonium player, ments. I also appeared in Ken Russell's film, and envelopes of sheet music but our even- as soon as Jeremy West can provide him The Devils for which David Munrow tual aim is to have photocopies made of all with his own 1yzard.The group utilizes a provided all the period music. On natural the music, which will be available for use, performance format that consists of playing trumpet I made what I believe was the first while the originals will be kept in the pairs of tunes followed by mini lectures on recording of Vivaldi's Concerto for Two archives. When the completed list is ready the history, performance problems, charac- Trumpets with Michael Laird. Although I do any interested scholars or players may teristics, and construction of the instru- less playing on natural trumpet and cornett contact me and I hope that the collection ments. In each pair, one tune will be drawn now (except in my lessons!), I gain terrific will prove a valuable source of information from historic Renaissance instrumental enjoyment from teaching them and am for performers and scholars alike. What literature, while the other tune will be an about to present a "first" with my pupils struck me about David Munrow was his arrangement of a popular song. The audi- fiorn Trinity College - a concert of the incredible enthusiasm and energy; he ence hears Pastime With Good Company Altenburg Concerto for Seven Trumpets and inspired us to reach for the highest stan- followed by Yellow Submarine, or perhaps the Biber Sonata, neither of which has been dards without putting on pressure. In his In Te Domini, Speravi paired with Do Wah performed before at a student concert in this short life he spearheaded, single-handedly, Diddy! Synopses of several notable country, to my knowledge. My students at the rebirth of interest in performing early performances follow. Trinity College have developed a real music. I like to think that he would have enthusiasm for the evocative sound of early approved of his collection's use as a source On March 2 1, 1992 we performed a recital instruments, and we prepared a concert last of information and inspiration to a new at Northwestern University's Regenstein year which went out as part of the BBC's generation of musicians. Contact: Iaan Hall to an audience of faculty and students. series Youth Orchestras of the World. Wilson, Fax 0 1-836 1 762. On June 27, 1992 a two-hour concert, --- submitted by Iaan Wilson hosted by the Illinois Mensa organization, My acquisition of the David Munrow was given in Rosemont, IL, to a packed Archives came about purely by chance. The Chicago-Area Scientists Discover auditorium. The engagement was listed as Royal Opera House was selling a manu- Early Brass "lecturer of the Month" with the title script by Donizetti at Sotheby's in an auction An as-yet-unnamed quartet of Chicago "Instruments Your Mother Never Told You of music and manuscripts and the head of keyed brass players has been giving formal About. " The turnout was reportedly a record music of the ROH mentioned that the David concerts, seminars, demonstrations, and for the hosts, and resulted in requested Munrow Library had also been sold at what providing background music. The group repeats and a related performance by a brass seemed a ridiculously low price. I made plays in the Chicago area and has been quintet including Paul Schmidt and Dan enquiries at Sotheby's, hoping to trace the together since the spring of 199 1, when its Heinman. On March 20, 1993 the group buyer, and was told that the lot had been members met at a serpent mini-festival repeated their recital at Regenstein Hall. In withdrawn, having failed to reach its reserve organized on account of Craig Kndel's visit addition to the above, the players have been price. I went to see the thirty-two large to the University of Chicago. The players at involved in numerous other engagements, cardboard boxes that contained the collec- the original session were Craig Kridel both with other groups to feature early brass tion and was little the wiser, although it was (serpent), Gary Gallt (lyzard), Jeny instruments, as guest soloists with modem clear that there was a great deal of interest- Schmeltelkopf (serpent), Keith Ryder bands, and as individual performers in recit- ing and rare music there. Many of his "set" (cornetto), Dick George (ophicleide), Daniel als. Paul Schmidt and Dick George have programs were still in their named folders Heinman (lyzard), John Weber (serpent and performed ophicleide duet recitals, and Paul as they were last performed, so I decided to ophicleide), and Paul Schmidt (serpent and continues to appear with any group that is buy the collection. The boxes were moved ophicleide). This ensemble met twice in the willing to experiment with having a keyed to my dining-room, but it became obvious gardens of Dan Heinman and Dick George, brass soloist. Paul also performs an annual after a while that if I were to sort it out (and whiling away warm spring weekends recital on ophicleide and serpent for a social if my family were to eat again!) we would serenading the neighbors. Soon afterward, organization in central Minnesota, and has need to find a more accessible venue, so I the quartet formed with its current instru- even given a demonstration at a school for arranged, with the help of John Wallace, to mentation. Keith Ryder, an archaeologist deaf children. Dick has performed in a transfer it to the Royal Academy of Music, and expert cornet player with a local civil McDonalds commercial playing ophicleide. where it will be housed in a David Munrow war band, plays cornetto on a Monk Paul performed on serpent (along with three Room in the Early Music Faculty, with instrument, and doubles on a Monk lyzard. sackbuts) for the opening number of a myself as Custodian. My archivist (the Gary Gallt, a musicologist and euphonium recent Whitewater Early Music Festival in music librarian of the Royal Opera, Gina player with the same civil war band, plays a Wisconsin. Both Paul and Dick are looking Boaks) is in the process of cataloguing it Monk lyzard. Dick George, a mechanical forward to doing some damage at the Early and has already listed the 700 books which engineer and euphonium player, plays Brass Festival #9 at Amherst this summer. range from treatises on Beethoven sonatas ophicleide on a French instrument. Paul Contact: Paul Schmidt, United Serpents, PO in German, through tutors for Arabian flutes Schmidt, an electronics engineer and tubist, Box 954, Mundelein, IL 60060, (708) 362- in Arabic to the many books on Medieval plays a Monk serpent and doubles on an 3047.

HBS Newsletter. Isrue 5, Page 52 New Music for Old Instruments instrumental program on June 19 entitled Hampshire Consort The Tibetan Singing Bowl Ensemble is a Efletti e Stravaganze. In the last two weeks The Hampshire Consort, resident faculty group that performs new music on some of July, Bruce Dickey and Charles Toet will early music ensemble at the University of very old instruments. In addition to playing represent the group at the mual early New Hampshire, has just released its first the Tibetan singing bowls, they perform on music course organized by Kees Boeke in CD recording, Cities, Courts, and Country- didjeridu, jaw harp, Tibetan thighbone Polcenigo, Italy (in the Dolomites near side: Secular Music c. 1500 (HAMOO 1). (see trumpet, shofar, and even the lyzarden. Pordenone). Then on August 4th they will review in this issue). Robert Stibler, Nich- Scarlet Records' MitySeries has recently perform at the Bruges Festival in Belgium a olas Orovich, Paul Merrill, and John Rogers released their CD recording, Nightsongs (IS new large-scale program, Concerti comprise the ensemble. They perform on a 88801-2). The two lengthy works on the ecclesiastici: Italian Sacred Music for wide variety of Renaissance wind instru- CD, Nightsongs and Jacob's Ladder, are Voices and Instruments, 1580-1630. This ments, including cornetto, sackbut, recorder, composed by the group director, Raphael program for six vocal soloists, three krummhorn, pipe and tabor, and percussion. Mostel. Nightsong features multi-instru- cornetts, five trombones, and two organs They performed a full recital last fall in the mentalist John Thomas on the tenor cornetto will feature, in the first half, a concertato faculty concert series "Music in the Age of in a long meditative solo. Contact: John twelve-voice Mass of Ignazio Donati along Exploration." It included works of the Thomas, 1 30 1 3rd Avenue, New York, NY with double-choir canzonas of Giovanni Casanatense Ms. from the late 15th century, 10021, tel. (212) 861-6256. Grillo. The second half is dedicated to to 17th-centur-y English consort music. Their music from San Petronio in Bologna. In most recent recital was on March 27, 1993. Schola Buccina: New Trombone and mid-August the group will be in Innsbruck The group performed a program of Renais- Bronze Lur CD where they will present the Vespro della sance and early Baroque music with works Schola Buccina is a leading trombone beata Vergine of Nicolo Fontei ( 1647) on by Frescobaldi, Malvezzi, Orologio, Cesare, ensemble in Sweden and they have recently August 20th. Immediately following this Schiitz, and others. Contact: Robert Stibler, made an interesting CD, The Trombone performance they will participate in an Department of Music, University of New Ensemble, Schola Buccina, on Authentic ambitious concert and video recording Hampsire, Durham, NH 03824. Instruments (Alice Music ALCDOO8 project of Monteverdi's Ofeo, organized by Distributed by CDAJSweden, phone 46-8- the Utrecht Early Music Festival and Philadelphia Renaissance Wind Band 7914700, FAX 46-8-6422775). The group is conducted by Ton Koopman. Finally, on The Philadelphia Renaissance Wind Band is made of five trombonists; Olav Holmqvist, September 25 Concerto Palatino will be nearing the conclusion of its 1992-93 JCirgen Johansson, Ivo Nilsson, Sven heard together with the Gesualdo Consort in concert series, a successful one by all the Larsson, John Petersen. Of particular Bremen in a concert entitled "J.S. Bach and usual measures - record attendance, good interest on this recording is the work for the North German Stadtpfeifer Tradition" reviews, and much positive feedback from 1 three bronze lurs by contemporary composer (music of Bach, Buxtehude, Hieronymous audience members, friends and fans. The Torsten Nilsson. The lurs used on the Praetorius, and Thomas Selle). Contact: year began with Return of the Pipers, an all- recording are replicas based on the lurs Bruce Dickey, Via dei Falegnami 6, instrumental program that included English unearthed at excavations in Scandinavia Bologna I4012 1, Italy, tellfax 051-263068. country dances, Italian canzonas, battle which date from the Bronze Age (1 500-500 music, and a final homage to 1492. In BC). The work is an eerie improvisation Bruce Dickey at BPI Festival at Oberlin December, the PRWB joined forces for the recorded with the musicians playing in the Bruce Dickey will be a special guest faculty first time with a chamber choir to perform middle of Lake BAven in Sweden. The other member at the 22nd Annual Baroque Per- works by Praetorius, Schein, and Scheidt, works performed by the trombone ensemble formance Institute (June 20 - July 4, 1993) including a number of double-choir works are by Praetorius, Dufay, Isaac, Agncola, at Oberlin College, Oberlin, OH. Musicians (especially effective were two pieces by Josquin, Monteverdi, Scheidt, Cordans, of all levels, from professional through Scheidt - a setting of In Dulci Jubilo and Speer, Beethoven (Three Equali), and Bach beginner, will participate in concerts, another of Angeles ad Pastores ait). As a (Ten canons on the first eight notes of the lectures, daily master-classes, and ensem- tribute to Valentine's Day, we offered a I aria ground from the Goldberg Variations. bles, at this summer workshop. Dickey will program of late 16th- and early 17th-century Contact: Johan Petri, Alice Muslk teach cornetto and ensemble classes during Italian dance music with hstorical dance Produktion, AMgatan 129, Stockholm the workshop, which will focus on Italian specialist Dorothy Olsson and her troupe of l 11624, Sweden, tel. 0842 1391. music of the Baroque. The Oberlin Baroque Renaissance dancers. Performed in costume, it presented an evening of courtship and I Ensemble will be in residence and the i Concerto Palatino faculty will consist of many distinguished love, Renaissance-style, as the four dancers Concerto Palatino will be active this performers. Contact: Dr. Beverly Simmons, worked their way through a number of summer in a number of countries (including BPI Adminstrative Director, Conservatory dances from the collections of Caroso and their premiere performance in the United of Music, Oberlin College, Oberlin, OH Negri, and the instrumentalists accompanied States at the Boston Early Music Festival) 44074 (2 16) 2834648. as well as entertained with their own and with several new programs. In Boston instmental interludes. The final program they will participate in several performances of the series, presented on April 1618, of Monteverdi's O$eo under the direction of featured music of 15th-century northern Andrew Parrott, and will also present an composers, from Dufay through Josquin, in

HBS Newsletter. Issue 5. Page 53 conjunction with a presentation of slides of TafeImusik with Crispian Steele-Perkins The concert was broadcast on CBC Radio 1Sthcentury Flemish paintings. Last Tafelmusik, one of the preeminent period- and a CD is scheduled for a fall 1993 summer the Wind Band recorded its second instrument orchestras in North America, release on the Skylark label. The Whole project on the Newport Classic label. was recently nominated for an International Noyse was joined by local sackbut player Entitled Return of the Pipers, it features Classical Music Award as "Early Music Nathan Wilkes for the concerts and Flemish, French, Spanish, and Italian Group of the Year." Other nominations in recording. Lrr Splendore d'ltalia, a recording repertoire, and will be released hsJuly. that category were Sequentia, the Freiburg of Italian music for Renaissance wind Touring this season included a concert in Baroque Orchestra, and Les Arts Floris- ensemble by The Whole Noyse, has been the Pittsburgh Renaissance and Baroque sants, which won the award. Tafelmusik has scheduled for distribution in the USA on the Society series, numerous concerts in the been active in the brass area, with perform- Musical Heritage Society label, and in Philadelphia area in addition to the series ances and recordings of classical period Europe on the Doreco label, and should be programs, and the Washington Revels in wind music. In March Taflmusik presented ready by December 1993. This recording by Washington, DC. In May the Wind Band the program Glory of the Trumpet, featuring The Whole Noyse (Stephen Escher, Brian went to Germany to perform at the Tage der noted natural trumpet virtuoso Crispian Howard, Richard van Hessel, Stanford AIte Musik Festival in Regensburg. Newly Steele-Perkins. He was featured in a suite of Stadtfelt, and Herbert Myers) features some signed on by Siege1 Artist Management, the instrumental music from Purcell's King of the finest instrumental music produced in Wind Band will perform next season, Arthur, two sonatas by Biber for tnunpet Italy during the Renaissance and early among other places, at the Shrine to Music and strings, Telemann's Concerto in D for Baroque. During the Christmas season of Museum in Vennillion, SD, at the Trumpet, Two Oboes and Strings, and 1992, the WN participated in a series of University of Vermont in Burlington, in the Vivaldi's Concerto in C for Two Trumpets concerts with the Magnificat Baroque Early Music Series in Columbus, OH, with and Strings. In the latter he was joined by Orchestra of San Francisco. The program the Houston Revels in Houston, TX, with Tafelmusik trumpeter John Thiessen. reproduced a Christmas Vespers service the Folger Consort at the Washington Natural hornists Derek Conrod and Teres from the Dresden Cathedral in 1656. It Cathedral in Washington, DC, and at the Wasiak participated in several projects of contains many beautiful settings of the Philadelphia Museum of Art in conjunction wind music, including an arrangement of Vespers service by composers such as with a re-opening of their Medieval and Mozart's Overture to The Magic Flute, Michael Praetorius and Johann Herman early Renaissance galleries. Contact: Joan Krornmer's Partita in Eb, op. 79. Shein, and featured the Christmas Story of Kimball, 739 North 25th Street, Philadel- Beethoven's Sextet in Eb, op. 7 1, and Heinrich Schiitz. The narrator role of the phia, PA 19 130, (2 15) 235-8469. Mozart's Serenade in c, K. 388. They have Christmas Story was performed by the --- submitted by Jmn Kimball also been performing an interesting program German tenor Martin Hummel. The WN of Bach's "Other Brandenburg Concertos." gave a lecturedemonstration and concert at Zephyr's Choice Baroque Wind Band Several of the concertos had existed in the University of California, Riverside in Zephyr's Choice Baroque Wind Band gave different forms before the 172 1 compilation; February, 1993, and performed in May at its premiere concert on February 14, 1993. others Bach re-wrote later for different the International Trumpet Guild Conference It was a nice Valentine present. The group occasions. Among the different versions of in Akron, Ohio. Contact: Stephen Escher, was formed in the summer of 1992 under these works, Tafelmusik recently performed 270 Troon Way, Half Moon Bay, CA 940 19, the guidance of Assistant Dean George Brandenburg Concert No. 2 replacing the (4 15) 726-0672. Riordan of Florida State University. The trumpet with a horn, played by Claude members are R.J. Kelly and Alexandra Maury. Contact: Ottie Lockey, 427 Bloor Brass News From Columbia Cook (natural horns), Sarah Davol and Street, West Toronto, Ontario, Canada Americo Gorello brings us news from George Riordan (Baroque oboes), Andrew M5S 1x7, (416) 964-6337. Bogoth, Columbia. He was recently named Schwartz (Baroque bassoon), and Tom professor of trumpet at the Universidad Sefcovic ( Baroque contrabassoon). Natural The Whole Noyse Pedagogics Nacional and also holds the trumpet player Fred Holmgren appeared as The Whole Noyse, a San Franciscebased position of professor of chamber music for a guest artist. The band is embarked upon a Renaissance brass and wind quintet brass at the Pontificia Universidad great venture, to record, as soon as possible, continues to maintain a busy schedule. In Javeriana in Santafe de Bogoth. Gorello the vast literature of the first half of the October 1992, The Whole Noyse traveled to gave a series of lectures in November and 18thcentury. Works by Telemann, Handel, Vancouver, Canada, to play several concerts December, 1992 at the Universidad Molter and anonymous Moravian masters with the Vancouver Cantata Singers. The Pedaghgica Nacional on the subjects of comprised the concert. Zephyr's Choice is a program was a 17thcentury St. Mark's embouchure and performance practice. He welcome addition to the early music field. Feast Vespers service, consisting of music is preparing a book on embouchure Contact: R.J. Kelly, 280 Tenafly Rd., by Giovanni Antonio Rigati, Claudio problems. Gorello is particularly interested Englewood, NJ 0763 1, (20 1) 569-3695. Monteverdi, and their contemporaries, and in Italian music performance practice from -submitted by Alan Littau featured the singing of sopranos Christine the Baroque. He wishes to correspond with Brandeis and Linda Perillo. This was the others on these subjects. Contact: Americo third collaboration between The Whole Gorello, Carrera 35 # 75-55 Santafe de Noyse and the Vancouver Cantata Singers. Bogoth, Colombia.

HBS Newsletter, Issue 5, Page 54 The Old Bethpage Village Brass Band Ferry, 8 Av. Pictet De Rochernont, CH-1207 Baroque repertoire and has plans to work 1993 marks the seventeenth year that Dr. Geneve, Switzerland, tel(022)735850 1. with many different choirs throughout the Kirby Jolly has directed the Old Bethpage UK. Contact David Edwards, 5 Holly Ridge, Willage Brass Band. Performances of this Juan Ullibari: Reports Of His Death Fenns Lane, West End, Woking, Surrey period-instrument ensemble take place at Have Been Greatly Exagerated! GU24 9QE England, tel. 444834-89030. their home base, the Old Bethpage Village If Juan Ullibari stopped getting calls for Restoration in Old Bethpage, Long Island, gigs, it is no wonder. He has been the object Royal Academy of Music New York, as well as various schools and of a fantastic practical joke at the hands of a Early Brass Program concert halls in the metropolitan New York friend and colleague in his trumpet ensern- Trumpeter John Wallace has been appointed area. Over the years the band's repertoire ble. 'fie word for this type of joke in artistic director of the early brass program at has increased dramatically with the help and Spanish is unocentada. It seems that this the Royal Academy of Music. This is one of support of Mark Elrod and Paul Maybery. friend posed as Juan's "widow" and wrote to the world's most comprehensive early brass Performances include selections from the dozens of brass musicians throughout departments. On the faculty are trumpeters American Brass Band Journal. Peter's Europe saying that Juan was killed in an John Wallace and William Houghton; Saxhorn Journal, Eaton's Twelve Pieces of auto accident! Word spread quickly about trombone and sackbut - Susan Addison, Ian Harmony, Port Royal Band Folios and the talented young trumpeter and cornetto Bousfield, Dudley Bright, and Robert Manchester Comet Band Folios. The Band's player cut down in his prime. Juan Ullibari Hughes; euphonium - Stephen Mead, tuba, recreation of the authentic sounds of a mid- wants to let his fellow HBS members and Patrick Harrild; natural horn - Anthony century brass band with all the spirit and everyone else know that he is still with us, Halstead; natural trumpet and cornetto - vitality of the period has had the audiences healthy, playing natural trumpet and David Staff, and Iaan Wilson; serpent and shouting "huzzah." For information contact: cornetto, and teaching music history at the ophicleide - Stephen Wick; and consultants Dr. Kirby Jolly, (5 16) 822-2373. Conservatorio Superior Municipal De John Webb, Sidney Elison, Ifor James, and Musica in San Sebastian, Spain. Juan is not Philip Eastop. John Wallace announced that Concordia - New Ensemble New CD entirely blameless in this matter. It seems the Royal Academy was the first conserva- Concordia is a new ensemble in the UK that this strange act was the friend's revenge tory to appoint a professor of sackbut and directed by Mark Levy. It consists of Jeremy for Juan's publishing his fictitious marriage ophicleide. Contact: John Wallace, 16 West, cornetto; Ana-Maria Rincon, soprano; announcement two years ago in the San Woodstock Road Croydon, Surrey CRO Mark Ley, Catherine Finnis, and Joanna Sebastian newspaper. I became aware of 1JR, England, FAX 08 1-667- 1883. Levine, viols; Elizabeth Kenny and William Juan's present healthy state when out of the Carter, lutes; Julian Poole, Percussion; and blue, I received a fax enquiring about the Trombomania At The RAM Veronica de Jerez, castanets. The ensemble delayed HBSJ v.4. You can imagine my On a cold, bright, morning early in Febru- recently released a CD called Don Quixote shock when I noticed that the fax was from ary, London's Royal Academy of Music was Songs and Dances of Renaissance Spain on Juan Ullibari and originated not from the besieged by Trombomania, which is, as the Dervorguilla label (DRVCD 103). This Pearly Gates, but from Spain! Contact: Juan defined by John Webb, an obsession with beautiful recording presents 27 selections of Ullibari, Easo 39, San Sebastian 20006, all tlungs brass. Thanks to the new regime music, mainly from 16thcentury Spain, by Spain FAX 39-94345 1892. of John Wallace, the Academy has decided composers such as Cabezon, Vasquez, --- submitted by Jeflrey Nussbaum to purchase a set of Webb sackbuts, and Ortiz, Morata, and Navarro. Wonderfid what better way to receive these instruments cornetto playing by Jeremy West is featured Camerata of St. George Gives than a masterclass with the virtuoso player in many of the pieces. His playing in the Inaugural Concert Sue Addison. John Webb spoke about the Ortiz recercadas is particularly exquisite. The Orchestra of the Camerata of St. history and development of the sackbut, George, a period-instrument group, gave its which then led on to a brief look at the Dennis Ferry official debut concert at the School Hall, problems of developing instruments sensi- Dennis Ferry reports that although he is Eton College on January 16th, 1993. tive to the Nurernberg ideal, yet responsive very busy playing first trumpet in the Performed were Handel's anthem Zadok the to the needs of the modern-day player. Once L'Orchestre de la Suisse Romande, he has Priest, his Water Music, the Concerto in D the students surmounted the obstacles of managed to do a lot of natural trumpet for 2 horns and Strings by Telemann, and holding the alto, tenor, and bass butts, it playing. Ferry recently performed Samson Come Ye Sons of Art by Purcell. A special became obvious that these magnificent and Israel in Egypt in Geneva and in Egypt brass-interest aspect of the group is that the instruments were responsive, and when as well as several performances of Bach's three trumpeters all play copies of the combined with the authentic mouthpieces, Christmas Oratorio. He also performed and Simon Beale trumpet made by David gave a freshness of sound that proved very recorded the Bach Orchestral Suites with Edwards. Edwards is also the principal addictive to everyone present. To round off the Boston Early Music Festival Orchestra, trumpeter and manager of the orchestra. this intriguing morning, Sue Addison led a directed by Andrew Panott (EM CDC7- Other brass players in the orchestra are session of consort music so that the students 54653-2). Ferry says that those natural trumpeters David Edwards, Marc could begin to play the instruments together, performances of the Bach were some of the Edwards, Andrew Shets; and natural horn with the addition of trombones and a tuba most musically satisfying experiences he's players Simon de Souza and Charlotte helping maintain pitch. It was a most had in in a long time. Contact: Dennis Harris. The ensemble plans to specialize in enjoyable morning, with the prospect of

HBS Newsletter. Issue 5, Page 55 more in the afternoon. After a brief lunch, John Webb continued with a talk on the development of the ophicleide and its ancestor, the serpent. The students were treated to demonstrations of the church serpent by Steve Wick, professor of both serpent and ophicleide at the RAM, and the ophicleide by Tony George (ophicleidist with the Wallace Collection). In his entertaining talk, John Webb was able to illustrate some of the transitory stages between serpent and ophicleide, using some of the instruments from his own collection. These included a Serpent Forveille, serpentcleide, alto ophicleide (by Halary), fourteen-keyed serpents ( by Key), and two Gautrot ophicleides (one in C, one in Bb). As 1993 is the centenary of the death of the Stephen Wick, John Webb and Greg McNiven at the Royal Academy of Music virtuoso ophicleidist Sam Hughes, it was Photo: Rita Castle fitting that the afternoon saw the resurrection of 0 Ruddier Than the Cheny, decades." I guess it's all relative. Now if a participated in a concert of Monteverdi's one of Hughes' favorite solos, in an sound track of a movie about a ... well, Vespers ( 16 10). In conjuction with the arrangement for brass quartet and garnba player can get so much play, imagine newly formed Early Music Forum of ophicleide by Tony George. It was greeted what the possibilities are for a movie about Scotland, SGE organized several early with great enthusiasm by the audience as it a brass player!! The life story of Gottfried music workshops. On March 14 cornettist showed that, far from being a curiosity, the Reiche, Pezel, or Fantini could certainly be Jeremy West and sackbut player Susan ophicleide possesses an inimitable charm box office hits with the right Hollywood Addison led a workshop for early brass and character when compared with modem touches. Or what could be a better tale than players in Carlops and on April 3 and 4 instruments. Other pieces played during the Giovanni Punto and his harrowing escape Keith McGowan (curtal), Nick Perry afternoon included; Come into the Garden and flight seeking fame and fortune? (cornetto), and Martin Pope (sackbut) led Maud, Rocked in the Cradle of the Deep, Casting such a film would be great fun. We another workshop. A final workshop was and a performance of one of a set of duets might cast ...Well, T11 leave it to your held on April 10 and 1 1 at Kilquhanity taken from the Ophicleide Tutor by imagination. School, Durnfriesshire. Contact: Murray Hartrnann, which gave John a chance to play Campbell, The Latch, Carlops, Penicuik, his Bb. This must have been a welcome Early Brass in Scotland Midlothian, Scotland, EH26 9NH. Cornetto player Murray Campbell reports break for him after such a long clay. The I afternoon was rounded off on a high note that The Scottish Gabrieli Ensemble and the Call For Papers: HBS Meeting in with the news that the Academy had agreed Edinburgh Renaissance Band have been Edinburgh June 1994 to buy a serpent and an ophicleide so that very active this past year. The SGE has a The Historic Brass Society will hold its first the students can continue the interest large brass section including cornettists meeting in Europe, June 10-1 3, 1994. This I sparked off by John Webb. Thanks must go Kevin Brown, Gregor Campbell, Murray will be a joint meeting with the Galpin to John Wallace and the Academy for Campbell, Sandy Howie and Susan Smith; Society. The focus of the meeting will be on having the vision to begin educating the and sackbut players Bill Giles, Simon talks presenting members' research results performers of tomorrow on the instruments Carlyle, Dominic Murtagh, Neil Short, Peter and practical discoveries. In addition to the of yesteryear. Who knows what might Simon, Jeremy Upton, and Arnold Myers. program of papers, there will be a chance to happen now that Trombomania has struck? The ERB specializes in music of the visit the Edinburgh Collection of Historic --- submitted by Tony George Renaissance and Middle Ages, including Musical Instruments, which houses several early Scottish music. They recently hundred historic brass instruments, and see Time For A Brass Movie?!! performed concerts in several historic many items not normally on display. The The January 16th, 1993 issue of The venues including Edinburgh Castle, Stiring event will mark the anniversaries of three Economist had an interesting news item Castle, and Linlithgow Palace. They also instruments in the collection: the sackbut of stating that Jordi Savall's CD of the sound recently recorded music for the TV Anton Schnitzer (1 594), and a trumpet and i track for the new movie, Tous les Matins du program"Disney Club." The SGE presented trombone by Joseph Huschauer (1794). I Monde, (AuvidisNalois 4640) has sold over recent programs including Schiitz' Members are invited to offer either full- 250,000 copies. Wow! That should keep SymphoniaeSacrae and Venetian music by length (40-minute) papers, or short (10- Savall in plenty of rosin for some time. Scarani, Frescobaldi, Picchi, Castello, and minute) contributions. Please notify the I They also reported that he was a "musician several large choral and instrumental works organizer, Arnold Myers, if you would like who toiled away in relative obscurity for by Giovanni Gabrieli. This past March they to present a paper or make a contribution.

HBS Newsletter, Issue 5. Page 56 For a fbll-length paper please submit an and Vespers, K339, the recently discovered Schickele's Five ofa Kind for Brass Quintet abstract by September 30, 1993. For a Berlioz Mass, with the Orchestre Revolu- and Orchestra and also performed the Piano contribution, please submit a title by tionaire et Romantique and the Monteverdi Concerto #2 for brass quintet and piano. December 3 1,1993. Papers and short Choir, and the reconstruction of a Praetorius Contact: Chestnut Brass Company, P.O. contributions will, if desired, be considered Christmas Mass with Paul McCreash's Box 30165, Philadelphia, PA 19103, tel. for publication by the editor of the Galpin Gabrieli Consort and Players, in Schlegel, (2 15) 787-6792. Society Journal or the editor of the Historic Austria. Contact: RCM, Prince Consort Brass Society Journal. A full program will Road, London SW7 2BS, England, tel071- Javier Bonet-Manrique be published early in 1994 and will be sent 5893643, FAX 071-5897740. Javier Bonet-Manrique has been very active to all members of the Historic Brass Society in Europe and in North America, performing and of the Galpin Society. Contact: Arnold Hermann Baumann Recovering and teaching natural horn. Thanks in part to Myers, 30 Morningside Park, Edinburgh Herman Baumann, noted natural horn his workshop activities, the natural horn has EH 10 5HB, Scotland, UK, tel44-3 1- virtuoso, sends lus best regards to all his been gaining popularity in Bonet-Manri- 4474791, e-mail [email protected] friends and colleagues in the HBS. He is que's native Spain. He frequently gives home, in very good spirits, and looks recitals on natural horn and performs with Royal College of Music: Peter Bassano forward to a complete recovery from a such ensembles as Jordi Savall's Hesperion Appointed Head of Brass stroke he had earlier in the year. He thanks XX and Le Concert des Nations. He was on The Royal College of Music in London everyone for their good wishes. the latter's recent CD, Concert Brand- announced that a group of RCM trombonists bourgeois (Astrek label), with fellow took first prize at the British Trombone Chestnut Brass Company natural hornist Thomas Milller. Contact: Association quartet competition last The CBC is one of the busiest brass Javier Bonet-Manrique, Plaza Puerto de la November. They have also recently named ensembles in the field. They certainly have Cruz, 7-64. E-28029 Madrid, Spain. ! Peter Bassano as Head of Brass. Bassano the most instruments to carry. The CBC has taught trombone and recently has added performs on literally dozens of different Jeffrey Snedeker sackbut at the RCM since 1978. He plans to brass instruments, from the Medieval period Recently Jeffrey Snedeker and Marilyn emphasize early brass at the RCM. Sue to our own era. Their recent CD Tippecanoe Wilbanks gave concerts of music for horn l Addison, sackbut, and Jeremy West, & Tyler, Too (Newport NBD 85548) is a and piano at the University of North Dakota cornetto, will also join the faculty. Michael compendium of 19th century American (October 28, 1992), North Dakota State Laird and Tim Brown will continue to teach political music from the 1828 election of University (October 29), and Montana State natural trumpet and natural horn. A weekly Andrew Jackson to the American Centen- University (November 1). Snedeker also brass class by visiting musicians will nial. This fine recording reached # 15 on the gave lectures on historical brass instruments feature contributions by Mark Bennett on Billboard charts, a remarkable feat for a and conducted master classes.The perform- natural trumpet, Cliff Bevan on ophicleide brass ensemble (See review in this issue). ances featured natural horn renditions of and serpent, as well as others drawn from They have also released the CD For God works by Mozart, Rossini, and Hermann 1 the large early-music community. Bassano and Country (Newport NBD 85533) with Baumann, while the modem, valved descen- performs for the English Baroque Soloists keyboard virtuoso and composer Anthony dant was used in works by Bozza, Madsen, and His Majesties Sagbutts and Cornetts. Newman playing settings of forty hymns. and Douglas Hill. Highlights included work An amazing tale in the early brass world is The CD includes a book containing the with the University of North Dakota Colle- . that Peter Bassano has traced his lineage hymns as well as their texts, music, and gium Musicum Wind Band, Gary Towne, back to the famous musical Bassano family. history. The CBC has a new member in the director, and Mozart duos at Montana State Bassano reports that His Majesties Sagbutts group, Sue Sexton. She comes to the Chest- University with Karl Overby and Snedeker. and Cornetts have given numerous concerts nut Brass Company from Youngstown, Contact: Jeffrey Snedeker, Department of focusing on English, Italian, and Spanish Ohio, where she was professor of trumpet Music, Central Washington University, I repertoire. In June they will tour Australia for five years at the Dana School of Music Ellensburg, WA 98926, (509) 963-1226. I where they will play in the Sydney Opera of Youngstown State University. Ms. Sex- House. They will also perform throughout ton won the International Trumpet Guild Francis Orval the UK. A number of Vespers are planned, Solo Competition in I 985, and has Natural hornist Francis Orval, who reports as well as concerts at the Cheltenham performed in many orchestras and brass that his natural horn method book is Festival and St. James's Piccadilly, London. quintets throughout the USA. The CBC and scheduled to be out by the early part of this Later in the year a trip to Sweden and a composer Peter Schickele recently received year, has been busy with performance and recording of a doublechoir mass by Lassus a commission from Chamber Music Amer- teaching activities. Orval is professor of and motets and canzonas by Hans Leo ica. The commission was one of five made horn at the Staatliche Hochshule fW Musik Hassler with the Choir of Westminster to outstanding ensembles and composers for Trossingen. He appeared in Festival of Cathedral are planned. Bassano has also new chamber works to be performed during Ancient Music in Barcelona this past May, been playing with the English Concert with the 1993- 1994 season. Schickele is most and served on the jury of the 4th Interna- Trevor Pinnock. Recent recording activities noted for his creation of the infamous tional Natural Horn Competition at Bad have included the Mozart Coronation Mass P.D.Q. Bach. The CBC has performed Harzburg, Germany. Orval will also lecture

HBS Newsletter. Issue 5, Page 57 and perform at the upcoming International primarily intended as an introduction to the Helen May Butler. Backhaus' one-woman Natural Horn Festival at Essen, Germany natural horn, it will be a useful resource for show based on the life of Helen May Butler (Sept. 7-1 2, 1993). Contact: Francis Orval, all horn players and teachers. Natural horn has met with such great success that she Augustastr. 17, D-77 10 Donaueschingen, study certainly provides an historical was asked by Milwaukee-based presenter Germany, tel. 49-077 1-144495. understanding of the instrument and can Cross Country Classical to recreate the enhance many aspects of valve-horn playing, original Butler Band. The premier A Modern Valve Horn Player's Guide including flexibility and lip trills, a more performance took place on October 3 1, 1992 To The Natural Horn active participation of the right hand for at Pitman Theatre on the Alverno College I was very fortunate last summer to receive intonation and stopped-horn playing, ear Campus in Milwaukee, WI. Patricia Back- a research fellowslup from the University of training, subtle articulation, and the variety haus appeared as Helen May Butler, leading Cincinnati. With this generous financial of tonal colors associated with the various the eighteen-piece American Ladies' support, I have made a thorough crooks. A publication date has not as yet Concert Band. Concerts are scheduled to be investigation of natural horn method books, been determined and will be forthcoming. held in mid- 1993. Contact: Patricia and have written A Mdern Valve Horn --- submitted by Paul Austin, University of Backhaus, P.O. Box 2092, Waukesha, WI, Player's Guide to the Natuml Horn. Many Cincinnati College-Conservatory of Music. (4 14) 549-3227. valve-horn players are aware that an understanding of the characteristics of the Natural Horn Workshop at Indiana Sousa Band Centennial Concert natural horn will assist in aclueving a more University September 26,1992 marked the 100th informed and musical rendition of composi- Leading natural horn performer and maker, anniversary of the first public concert by the tions originally intended for the natural Richard Seraphinoff will direct a natural famous "March King" and his New Marine horn. A Mdem Valve Horn Player's Guide horn workshop at Indiana University, June Band. The debut concert was held at the to the Natuml Horn prbvides a systematic 2 1-26, 1993. The workshop is open to Stillman Music Hall, 2 16 West Front Street, approach for the study of the natural horn by professionals, students, teachers, and Plainfield, New Jersey, and the Historical presenting material in a logical and practical advanced amateurs interested in the natural Society of Plainfield, along with many order, and making available a list of reputa- horn. The schedule will include a daily music notables, marked the event in proper ble sources as a guide for further study. I master class, an ensemble session, and a fashion. A special exhibit of Sousa memora- believe that this method book will shed lecture. Each student will receive two bilia from the collection of Barry Owen much light on the music composed for the private lessons during the week. An Furrer was displayed at the Drake House natural horn by assisting valve-horn players informal concert will conclude the work- Museum in Plainfield. This exhibit included in their understanding of the original phrase shop. For participants who do not own an nearly eighty original Sousa Band programs, coloring, dynamic shading, and articulation instrument, a limited number of horns will spanning the years 1892 to 1930, numerous markings idiomatic to the natural horn. The be available. Space is limited to 12 perform- photographs, sheet music, first editions of production of notes on the natural horn is ers. Contact: Office of Special Programs, Sousa books and novels, letters, and the logically presented in ten sections. First, the Memll Hall 12 1, Indiana University School prize of the collection, a pair of Sousa's natural horn's open notes are introduced, of Music, Bloomington, IN 47405. Tel(8 12) white, kid-skin gloves, autographed and followed by the most commonly used 855-1 814. dated 1922. During the day-long festivity, altered notes, and gradually moving to the many experts in the field participated, full chromatic range of the instrument. Each The Female Sousa including John Philip Sousa IV,Keith section includes a brief explanation on the Dr. Patricia Backhaus has spent the last Brion, Paul Bierley, Frederick Fennell, production of the featured notes in relation seven years researching the lives of early George Foreman, and Leonard B. Smith. to the harmonic series, followed by American comet soloists. She has gathered Groups performing were the Westfield exercises and standard orchestral excerpts an extensive collection of comet solos circa Community Band, Bloomfield Civic Band, that employ these featured notes. 1879-1935. With the aid of vintage record- Mercer County Community Band, Bethle- ings and through the use of early instru- hem American Legion Band, Allentown This book also contains brief chapters that ments, she recreates historic performances Band, Blawenburg Band, United States address many relevant issues for natural of classic cornet solos. In the midst of her Army Band (Pershing's Own), US Coast horn study. These matters include articula- research, Backhaus discovered Helen May Guard Band, Franklin Band, Hackettstown tion, tone and intonation, practicing and Butler, a woman called "the female Sousa." Band, North Plainfield Band, and the performing tips, cadenzas, ornamentation Butler was a cornetist who played both the Ridgewood Concert Band with soloists from and performance practice, selecting a Besson and Conn comets and was a student the New York Philharmonic; trumpeter natural horn, and maintenance. A historical of D.W. Reeves. Her claim to fame is as the Philip Smith and trombonist Joseph Alessi. overview of the natural horn is also provid- directress of her own all-female band for a For information about this event contact ed, as well as lists of recommended read- period of over twenty years of touring across Barbara Fuller, Historical Society of Plain- ings and recordings, instrument makers, and the United States. The Butler Band was also field, 602 West Front Street, Plainfield, NJ organizations of interest to natural horn known in Europe and South America. Dr. 07060, (908) 755-583 1. enthusiasts. Although A Mdern Valve Horn Backhaus is currently working on a book on Player's Guide to the Natural Horn is

HBS Newsletter, Issue 5. Page 58 Sousa Documentary music is very clear and readable. It is taken trumpets, 4 percussion, 2 flutes, 6 clarinets, If You Knew Sousa, a documentary film, from a different printing than the edition 6 saxophones, 2 horns, 8 saxhorns, 5 was recently aired on the television series used by the HBS in preparing the English trombones, 7 cornets, and 9 flugelhorns. The American Experience, a co-production translation that appeared in the HBS The Cavalry Band was formed in 1848 and of WGBH/Boston, WNETMew York and Journal vol. 3 ( 199 1 ). That edition was the 40 trumpeters and kettledrummers still KCETLos Angeles. This portrait of Sousa from the collection in the New York Public perform on horseback. The trumpeters ride was produced, written, and edited by Tom Library and was far less clean than the one chestnut horses and the kettledrummers ride Spain and Linda Spain. The show features used for this facsimile edition. Aside from a grey ones, performing many of the old highlights of his career and life, and makes difference in pagination, the music and text trumpet and drum fanfare repertoire, an interesting connection between Sousa's are identical in the two printings. It is including the 1803 David Buhl composition successful marches and the upbeat spirit of certainly good to have the complete edition Ordonnances des trompettes. A CD of some America during his time. of this important trumpet method available. of these works, Fanfares de la Garde The HBS translation will serve as a good Republicaine, was released on the Auvidis Gottfried Reiche - A Downtown companion to the edition, as the I.M.D. label (AV6111). Contact: Garde de Kind of Guy edition is a facsimile with only the original Rkpublicaine, Service d' Information, 49 The October 26th, 1992 edition of the New French text. The one downside to this Rue de Babylon, Paris 75007, France, tel. York Times had an interesting review of a edition is the price. At 138 DM for a 33-145512036 or FAX 33-142617264. concert by Ben Neill, composer and inventor paperbound edition, many might think twice of the mutan-trumpet (a trumpet with added about a purchase. Keyed Bugle Featured in Concert Bb and piccolo trumpet bells, a trombone Honoring Francis Johnson slide, six valves and sophisticated electronic Position Wanted: Trumpet/Bugle with The Buffalo and Erie County Historical controls). Reviewer Edward Rothstein Old Guard Fife and Drum Corps Society presented a concert entitled "Recollections of Buffalo" on Sunday, described the American premiere of Neill's The Old Guard Fife and Drum Corps of the November 1, 1992. Featured performers on music theater piece Downwind as an 3rd Infantry Musical Unit has a vacancy for original instruments were the Galliard Brass example of the "Downtown" school of a trumpetlbugle position. This ensemble Quintet, led by tubist Mark Jones, with composition. It is so called because of the performs in Colonial period uniforms and guest artist Henry Meredith. The costumed circle of avant-garde, minimalist, and rock performs at White House and many other musicians performed early and mid- 1 9th- oriented musicans such as La Monte Young, govenunent ceremonies, marches special century brass band music in conjunction Steve Reich, and Philip Glass, who work drills for historical pageants of Twilight with a special exhibit on early music in and live in the downtown section of New Tatto and for Spirit of America. Buglers Buffalo. This display included several York City. Downwind was described by sound taps for hundreds of off-post funerals, period brass and woodwind instruments, early editions of music, prints, photographs, l Rothstein as a twepart narrative minimalist and the groups travels extensively, giving and a commemorative silver pitcher, which work. One story line involves the life and performances throughout the United States was presented by Company D, 37th Regi- death of Gottfried Reiche. Tapes of voices and abroad. Original manuscripts and ment, New York State Artillergy to the are played over the music, and include personal diraries have been researched in captain of the steamer BuJSalo for transport- Reiche describing the rules for behavior in this unit in order to preserve authenticity of ing Francis Johnson's band, along with the the 17thcentury guild of trumpeters and the musical period. The salary is $24,170.16 Buffalo City Guard, from Buffalo to Detroit kettledrummers. The story of Reiche's dying - $27,462.96. Contact: Old Guard Fife and for appearances there on July 4, 1839. as a result of breathing too many fumes Drum Corps, ATTN: Auditions, 3rd United Johnson made a second visit to Buffalo in from torchlights in the hall during a concert States Infantry, Fort Myer, VA 2221 1, (703) October 1839, when he performed his Bufalo City Guards March and his was mixed with a story about people dying 696-335313743. Recollections of Buflalo Quick Step at the of the fumes of toxic nuclear waste from a American Hotel. The latter composition was secret government plutonium plant; hence, La Gar& Rkpublicaine performed by keyed bugle soloist Henry the title of the work. The centuries-old music tradition of the Meredith, who also performed Concertino Republican Guard is, in fact, still going in E-Flat by Sachse, Wrecker's Daughter, Facsimile Edition of the Dauverne strong in France, with its musicians still Hero's Quickstep. Francis Johnson's Bugle I Trumpet Method 1857 playing valveless brass instruments. Two Quickstep, and the famous keyed-bugle- A large size (9" x 12"),288-page facsimile different bands compose the Republican veruscornet competition piece, Holloway's edition of Dauverne's significant Mkthode Guard, the Military Band, and the Cavalry Wood-Up Quick Step, with John Maguda on pour la Trompette of 1857 has recently been Band. The Military Band, founded in 1802 E-flat comet. I published by Editions International Music as a drum unit, was joined by buglers in Diffusion (I.M.D.), 24 Rue Etex, 7501 8 1822. It was not until 194 1 that other wind Streitwieser Trumpet Museum Paris, France, tel. 42-292 131 or 42-634731. instruments were allowed to join. The last A number of recent musical events were The edition is also distributed by Wolfgang change was a rather recent one: in 1985 held at this wonderful museum. A day-long G. Haas Musikverlag, Postfach 900748 D- clarinets and flutes were added to the Collegium Musicum Festival was held on 5000, KOln, Germany, tel. 02203-55355 or personnel. This band performs at official May 1. This workshop included perform- ances, and discussions concerning college FAX 559 10. This paperbound edition is ceremonies for France, and is composed of: printed on a sturdy paper stock, and the 14 side drums, 12 B~ bugles, 8 cavalry collegium issues. On May 2 the Renaissance

HBS Newsletter, Issue 5. Page 59 ensemble, Sonare, presented a program of copies (14 X 11) of the painting for £15. the University of Edinburgh since 1980. music from the Middle Ages through the Contact: David Edwards, 5 Holly hdge, Among the early brass instruments in the Baroque. The museum's annual ice cream Fenns Lane, West End, Surrey GU249QE, collection are a natural trumpet in F by social was held on June 13th. Streitwieser England. Tel. 0483-489630. Johann Wilhelm Haas, ca. 1730; a two- Foundation Board President Ralph Dudgeon valve a straight trumpet in B~ by Boosey & issued an appeal to help support the Antiquarian Booksellen Co., ca. 1895; a cavalry trumpet in Eb, museum, a unique resource for our A great source of early brass information are ca. 1900; a buccin trombone, ca. 1825; and community. The museum's extensive antiquarian book shops that deal with music two 19thcentury serpents, Contact: Arnold collection of approximately 1,000 instru- subjects. Two fine and helphl establish- Myers, Edinburgh University Collection of ments is open to scholars and the general ments are Ars Antiqua Books, P.O. Box Historic Musical Instruments, Bristol public for study and examination, as is its 437, Bloomfield, CT 06002, and May and Square, Edinburgh, EH8 9AG Scotland, 10,000-item library. Contact: Streitwieser May, Ltd. Whitebridge, Semley, Shaflebury, UK. Trumpet Museum, Fairway Fm,880 SP7 9QP, England. Catalogues can be Vaughan Road, Pottstown, PA 19464, tel. obtained by writing to these companies, and Brass Catalogue of the Edinburgh (215) 327-1351. the treasures you may find might astound Collection you! Arnold Myers has edited the latest in a* Shrine to Music Museum Acquires Early series of catalogues of the Edinburgh Brass Instruments Complete Torelli Trumpet Music University Collection of Historic Musical The Newsletter of the American Musical The complete trumpet works of Torelli (for Instruments. This issue (Volume 2, Part H Instrument Society (February, 1993 l,2, and 4 trumpets with strings) were Fascicle i) contains detailed descriptions of vol.XXII No.1) listed the instruments the recorded on period instruments by Tactus the collection's horns, tubas, signalling museum acquired during 1992, including a Records in October, 1992. These works instruments, flugel horns, bugles, alphorns, number of very interesting early brass were performed at the original site, in the cornetts, ophicleides, and serpents. He is instruments. Recently acquired in their fine church of San Petronio, Bologna, Italy, by currently preparing a catalogue of the collection were: no. 5264, comet in B~,after Cappella Musicale di San Petronio, under trumpets in the collection. 1883, importedby Charles Parsons & Co.; the direction of conductor Sergio Vartolo. no. 527 1, bass ophicleide by Graves & Co., The natural trumpet soloists were Gabriele Counterfeit Shofars - Caveat Emptor!! Winchester, NH, ca. 1830, Ex. collection Cassone, P.O. Lindeke, David Staff, Steven HBS member Bob Goodman sends us a 1 Fred Benkovic, Milwaukee; no. 5272, Keavy, and Edward H. Tarr. Tarr edited the clipping of a rather bizarre article by Herb comet in B~IAby C.G. Conn, ca. 1905; no. music performed on this recording. Keinon from the September 25, 1992 issue 5273, over-the-shoulder alto horn in E~ by of the Philadelphia Jewish Exponent. It John Goward Foote, NY. ca. 1870; Edna White Chandler Memoirs seems that a shofar importer called on no. 5383, tenor valve trombone by C .G. Edna White Chandler, Edison recording several Rabbis in Bnei Brak, Israel, for their Conn, ca. 1880, patented, Stoelzel-like comet soloist, recently died just months stamp of approval for his wares. (Shofarot valves; no. 5384, tenor slide trombone by before her 100th birthday. Her book, The must be made from particular animals in a C.G. Conn, ca. 1926, "Frisco" artist model Night the Camel Sang, has recently been special way in order to be deemed kosher 1 18H, gold-plated, hlghly engraved. Contact: reissued. This book recounts her experien- and suitable for religious use.) Well, the Shrine to Music Museum, 414 E. Clark ces on the vaudeville stage in the 1920's, rabbis were awed by the beauty and clear 1 Street, Vermillion, SD 57069. and offers the rare view of a woman's life as sound of these rams horns. Their suspicions a traveling brass player during that period. were aroused when they noticed that each of Valentine Snow Portrait?? (See review by Ralph Dudgeon on page 48 the shofarot looked and sounded exactly the 1 A beautiful painting of an 18thcentury of this issue.) Cassette tape recordings of same. The rabbis asked about the origins of trumpeter has recently raised some her work are available at $10 each through the horn, but the importer refused to say, interesting questions. The painting, thought Memtt Sound Recording, 223 Grimsby claiming to fear that the rabbis would by- to be by the Swedish artist Michael Dahl, Road, Buffalo, NY 14223. Contact: The pass him as the middleman, and go directly portrays a striking trumpeter playing a New Amberola Phono Co., 37 Caledonia to the source. The rabbis hired a private i Harris trumpet ( 17 15). This work, owned by Street St., Johnsbury, VT 058 19. investigator who traced the shofarot to the National Trust of England and housed at Europe. The secret to these nearly perfect ~ the Fenton House Museum, has come under C.H. Brackenbury Collection Donated to horns was that rather than merely being cut question regarding the subject as well as the Edinburgh from the ram, they were made by first I painter. Crispian Steele-Perkins and David Arnold Myers, curator of the Edinburgh melting down rams' horns and then pouring Edwards have been researchng the University Collection of Historic Musical the liquid into a cast that produced a high- I painting, the costume of the trumpeter, and Instruments, announced the formal donation quality shofar. This process is not at all his sword, in an effort to identify the of the C.H. Brackenbury Memorial Collec- kosher and it seems that large quantities of trumpeter. (See article by Edwards on page tion to the University. This important these shofarot have penetrated the Israeli 13 of this issue.) Trumpet maker David collection of over 200 wind and other and U.S. markets. Talk about Yarnaha Edwards makes a beautiful copy of the musical instruments was assembled in the modifications! ! Harris instrument. He has also made color 1920's and 1930's and has been on loan to

HBS Newsletter, Issue 5, Page 60 Prague Musical Instrument Museum Anthony Halstead, Lowell Greer, Francis for one and birth date for the other!). A Closed Orval, and the Deutsche Naturhornsolisten. highlight of the festival will be a hlly Phillip T. Young, President of the American The orchestra in residence for the Festival staged production of Monteverdits Or$eo. Musical Instrument Society, reported in the will be the period-instrument ensemble, La The outstanding cornett and sackbut group MISNewsletter, Vol XXI, No. 3 (October Stagione. Scheduled to lecture are Thomas Concerto Palatino will also appear in the 1992), that he found the Museum, housed in Hiebert, who will discuss horn music in the festival on June 19. Contact: BEMF, PO the Velkoprevorsky Palace, located in the Baroque, and Hermann Baumann who will Box 2632, Cambridge, MA 02238, (617) Mala district, shrouded in scaffolding and speak on the art of natural horn playing. 661-1812. looking as if it had been hit by a demolition Contact: Oliver Kersken, Internationales squad. On a recent trip to Prague, he found Naturhorn Festival 1993, Folkwang Hoch- IGEB Conference: Call for Papers a poster nailed to the wall that stated, schule fur Musik, Klemensborn 39, I34300 The 1 lth Conference of the International I "Exhibition of Music Instruments is Essen 16, Germany, tel. 49-20 14903-166 or Society for the Promotion and Investigation Abolished." Young felt that many of the ' Fax 49-2014903-167. of Band Music, together with the Institute instruments had disappeared from the for Musicology of the Hungarian Academy collection and that the current collection has Musique De Cbasse of Sciences in Budapest, will be held July been dismantled and is in storage. Cizek Jeffrey hg,principal horn of the American 10-16, 1994. The conference will take place Bohuslav, the Director of the Museum, did Symphony, has recently formed Musique De in the famous Festetics-Castle at Keszthely, I not know if or when the Museum will Chasse, an ensemble devoted to the per- Hungary, at the western end of Lake Bala- reopen. formance of authentic hunting horn music ton. The library of the Festietics-Castle is and the French horn repertorie. Members of famous for its collection of Harmonie- 1 Harmonia Newsletter of Early Music the ensemble are leading NY free-lance musiken of the Viennese classical period. Harmonia is an interesting newsletter that horn players. Contact: Jeffrey hg,18 West The main topic of the conference will be gives extensive concert listings of early 83rd Street # IA, New York, NY 10024, "From Classic Harmoniemusik to the music activites in the Washington DC area (2 12) 595-9885. Modem Symphonic Band Crossroads." as well as throughout the Northeast. There Papers on the main topic of the conference are also short articles on various early-music Stich-Punto Horn Festival as well as free research reports are subjects. Contact: Patricia Cuts, Editor1 The Tenth Annual Stich-Punto Horn Festi- welcome. For information contact Dr. Publisher, 736 13th Street, SE, Washington, val was held June 19 and 20, 1992, in Berhard Balba, Secretary General, IGEB, DC 20003 (202) 543-1 94 1. Prague and Zehusice, Czechoslovakia. The Pannonishe Forschungsstelle, Hochschule theme of the event was the introduction of fW Musik und darstellende Kunst, A-7432 Batteries-Fanfares the horn from France to Bohemia by Count Oberschiltzen, Austria. Batteries-Fanfares is the French language Sporch in 1681. Among the invited magazine of the Confdkration Franqaise participants was natural hornist Michel Aston Magna Academy Des Batteries et Fanfares. There are many Garcin-Marraou with his Cor Solo Raoux The eleventh Aston Magna Academy will be articles concerning the very popular French and the Quatuor de Cors de I'Opera de held June 13-July 3, 1993, at the Mason dnun-and-bugle tradition, as well as about Lyon. The Stich-Punto Foundation has been Gross School of the Arts, Rutgers other natural brass music. In the January, established to present future activites. Two University, New Brunswick, NJ. The Aston 1993 issue there is an interesting article on important dates for potential ventures are Magna Academy, under the direction of the lustory of military music. Contact: 1993, the 190th anniversary of his death; Raymond Erickson, has as its aim the C.F.B.F., BP #20, Vaucresson 92420, and 1996, the 250th anniversary of his birth. bringing together of performing artists, France. Tel. 4741 9482 FAX 47-0 14691. A bank for information concerning the horn scholars, instrument makers and serious and horn playing in Europe in the 18th and students to contemplate a particular cultural International Natural Horn Festival 19th centuries is being formed. For more period. The theme this year is Schubertk in Essen information contact: Vladimira Klinska, World: Viennese Culture in the Reign of The city of Essen and the Folkwang School Strojnicka 9, 17000 Prague 7, The Czech Fmncis I (1792-1835). Among the many of Music are presenting a large International Republic. participants will be natural hornist Lowell Natural Horn Festival in Essen, Germany, Greer. Contact: Constance Baldwin, September 7-1 2, 1993. The event is being Boston Early Music Festival Academy Administrator, 105 Hudson Street, organized by the Deutschen Naturhorn- The Boston Early Music Festival and 5th Floor, New York, NY 10013, (212) 941- solisten, an ensemble founded by four Exhibition will be held June 14-20, 1993, 7534. former students of Hermann Baumann: Eva- and will be centered at Harvard University Maria Gbrres, Michael Gasciarino, Wilhelm in Cambridge, MA. Andrew Parrott and Bruns, and Oliver Kerskern. The festival Paul O'Dette have been named artistic will include recitals, concerts, hunting horn directors for the 1993 celebration. The playing, master classes, and lectures. week-long festival will focus on the two Natural horn artists currently scheduled to great musical anniversaries of Claudio appear include: Hermann Baumann, Ab Monteverdi (1 567-1 643) and William Byrd Koster, Thomas Miiller, Claude Maury, (1 543-1623). (I'll give you a hint: death date

HBS Newsletter. Issue 5, Page 61 The Russian Horn Band In St. Petersburg's Museum of Musical Instruments, one finds a unique choir of brass instruments originating in the 18 century and popularly called the Russian Horn Band. Designed in 1752 by the Bohemian-born French horn player and Russian court music director, Jan Antonin Maresh, these instruments became quite popular at the court of Czarina Elizabeth. The ensemble was intended to imitate the sound of a pipe organ, and each horn was tuned to a single note, so that amateur musicians, usually recruited from the ranks of the serfs, were able to perform serious polyphonic works. The repertoire tradition- ally included military music and folk songs as well as original compositions. The most noted composer for these horn ensembles The 47 horns of the Russian Horn Band in the St. Petersburg Musical Instrument Museum. was Maresh himself, but unfortunately, his Ray C. Russell (I) and Dmitri Soloviev, Museum Director. Photo: Lucy Russell compositions are no longer extant. From Maresh's original ensenlble of 36 horns, these groups expanded in size, incorporating up to 9 1 players by the end of the nineteenth century. Their popularity continued through the early years of this century, most likely dying out with the advent of the Bolshevik Revolution. A photograph from a Czarist funeral early in this century shows the Russian Horn Band prominently.

Although the best examples of the Horn Band instruments are found in St. Peters- burg, there is also a small collection in MOSCO~SGlinka Museum of Music Culture. The 47-horn choir exhibited in St. five tones on one of the horns Petersburg is in good condition, and more I Instrument Museum. such instruments are in museum storage. Although the instruments were intended to play only one note in ensemble, it is NY Brass Conference For Scholarships Tim Bryson - Sackbut Concert Tour possible to reach up to five clean, well- The 2 1 st Annual Brass Conference was held Tim Bryson has recently returned to the sounding tones, at least on the larger April 2-4, 1993 in New York City, and as is United States after fifteen years as a instruments. the norm with this event, hundreds of brass professional brass player in Italy. He played players listened to concerts, attended talks, tuba in the opera orchestra in Florence for a The impressive array of horns, ranging from and inspected and played on the latest wares number of years, but he also performed handsize to more than two meters in length, of the several dozen music companies and widely on sackbut, frequently appearing must have been a joy to listen to, judging instrument makers who were in attendance. with the organist Pier-Paolo Donati. I first ffom the mellow, round sound they produce. While jazz groups and modem ensembles met Tim and Pier-Paolo in 1983, when I These instruments, constructed from single are the main performance focus, the Old attended their fine recital at the Church of pieces of metal having no separate mouth- Bethpage Village Brass Band and the the Mendicanti in Venice. In 1986 I heard piece, are easy and fun to play. It would be Danbury Brass Band also participated this them perform again, this time at the Ospe- delightful to see a revival of the Russian year. Each year one or two musicians are daletto in Venice. With Tim's return to the Horn Band. honored. Trombonist Phil Wilson and jazz States, the two are planning an American ---Submitted by Ray Carson Russell trumpeter Red Rodney were the honorees tour in 1994. Tim presently resides at 10 10 this year. Contact: NYBCS, Charles Colin, Cashiers Valley Road, Brevard, NC 287 12. 315 W. 53rd Street, New York, NY 10019. --- submitted by Stewart Carter

HBS Newsletter, Issue 5, Page 62 San Francisco Early Music Summer ' '. Ariiherst Early Music Workshop David Buhl - 2Opetis duos 2 Trompettes; Sieber, Paris, vor 1828,12 Fanfaren 4 Tromp; Workshops June 20 - July 31,1993 Afler the Early Brass Festival #9 (July 30 to Duhan, Paris, vor 18 15, Ordonance des These summer workshops, once a one-week Aug. 1, 1993), there will be plenty of Trompettes, Janet et C., Paris, vor 1828, recreational music camp, have evolved into cornetto, sackbut, and other early music Ordonance des Fifires. ,Janet et C. Paris, 18 15, des five separate workshops: Baroque, Renais- activities at the two-week Amherst Early Sonneries Trompettes, Janet et C. Paris, 18 15. sance, Medieval, Recorder ,and Instrument- Music Festival (Aug. 1 to Aug. 15, 1993). In A Vandehagen - Fanfares A 4 Trompettes et Building, with an international faculty and a addition to the usual wide may of early Timbales no obligb, Liv. 1-5, Pleyel, 1.H. student body of over 200. The diverse music classes and ensembles, taught by bereits vor 18 15 1828. cuniculum serves the needs of both novice many of the leading musicians in the field, - G.F. Fuchs - 6 Marches et Pas redoublbpour Trombone ,Sieber, Paris, vor 18 15. and professional, with courses ranging from there will be several special events such as basic technique to masterclasses in the the Great New England Outdoor Double Anyone with any information about these early vocal styles, chamber music, orchestra, Reed Rally (Sunday, Aug. l), the Historic works or their locations should contact: chorus, and dance, to scholarly investiga- Harp Conference (Aug. 7-8), the Music & Albert Hiller, Hemauerstrasse 9a, D-93047 tions of early notation and performance Instrument Exhibition (Aug.7-8), the Regensburg, Germany. practice. Among the faculty are brass Arnherst Medieval Institue with the players Robert Dawson (Medieval Music Newberry Consort (Aug. 1 -8), the Arnherst IGEB Announces New Prize for Band Research Workshop, July 25-3 1), and Stephen Escher Early Opera Institue, with Paul Echols and In an effort to stimulate research on wind (Renaissance Music Workshop, July 4- 10). Julianne Baird (Aug. 7-1 5), and the bands and the dissemination of that The Renaissance workshop will focus on the Amherst Baroque Academy with Paul research, the Internationale Gesellschaft mr German Renaissance and its historical and Leenhouts, Manfred Kraemer, Phoebe E$orschung und Fd;rdenmg des Blasmusik social backgroud. The Medieval workshop Carrai,and Arthur Haas (Aug.7-15). For (The International Society for the Promotion will focus on music of Europe, from more information, contact Valerie Horst, and Investigation of Wind Music) announ- England to Byzantium, from the mystical Amherst Early Music, 65 West 95th Street ces the first Fritz Thelen Prize for an ecstasy of Hildegard von Bingen to the # 1A, New York, NY 10025, tel. (2 12) 222- outstanding dissertation on the wind band, lyrical cynicism of the troubadours. The 3351 or Fax (212) 222-55 12. wind band music, or wind instruments dates of the other programs are: Baroque accepted st an American University between 1990 and 1994. An international jury Music, June 20-July 3; Recorder, July 18- 1 Author's Query chaired by Professor Chstoph Mahling of 24; and Instrument Building with Lyn Elder, Albert Hiller seeks information concerning Mainz, Germany, past president of the July 18-3 1. Contact: Robert Jackson, any of the following compositions for his International Musicological Society, will SFEMS Workshops, P.O. Box 15051, bibliographic work on trumpet literature: select the winning dissertation, which will Berkeley, CA 94709, tel. (501 ) 528-1725. Peter Streck - 8 Aufliigfur 4 trompeten und be published by Hans Schneider Publishing Pauken, op. 275 House of Tutzing, Germany as Volume 17 Music at Benslow Martin Miisl - 20 kurze und leichte Stitekefur of Alta Musica, the official journal of IGEB. 2 oder 3 Trompeten;Anton Mhm, Augsburg Nominations from doctoral advisors or self- Little Benslow Hills is an idyllic country 0.j. setting where musicians of all levels can nominations will be accepted. Nominees F. Gleissner - 24 Duosfaciles pour 2 cors ou should send two copies of their dissertation take courses from many of the leading Trompettes;Falter, Milnchen, vor 18 15 to: Dr. Robert Grechesky, Jordan College of performers in the UK. Among the brass C. Kreith 12 Originalauflilge, op. 67, Eder, Fine Arts, Butler University, Indianapolis, Wien, ca. 1815 instructors are Gordon Cam, Alan Lumsden, IN 46208. Dissertations must be received by and Michael Procter. A few of the many Joseph Kilh(1 776- 1856) 12 Mbrschefur 4 September 1 , 1994. ~ Trompeten oder vrer HalbemondhBrner, courses offered are International Academy Andre Offmbach, ca. 1 8 15.10 Trompeten- of Sacred Music in Venice (May 29-June 6), Aufiiigefur 12 Trompeten; Andre Offmbach, International Natural Horn Competition Renaissance Dance and Band (May 3 1-June ca. 1828. An International Horn Competition will be 4), Byrd Week (June 29-July 4), Early M. Schindliicker - 12 Aufiilgefilr 5 Trompeten held in Bad Harzburg, Germany from June Classical Chamber Orchestra (July 9-1 l), und Pauken (oder 6 Trompeten);Riedl (spgter 16-20, 1 993. Judges will include Hermann Haslinger), Wim ca. 18 15,12 leichte Duetten Baumann, Vitali Bujanowski, Wilhelm Music and Dance of the Renaissance (July filr 2 Hdrner (oder Trompeten), Falter, Bruns, Francis Orval and Adman van Miinchen, vor 18 15. 10-17), Baroque Orchestra with Peter Woudenberg. For further information: Holman and the Parley of Instruments (July D. David - 18 Fanfares pour 4 Trompettes (et Gesellschaft Harzburger Musiktage, 19-25), Renaissance Music for Singers and Timballes ad libitum); Bahrne, Hamburg, vor 18 15. Postfach 1 364,3388 Bad Hmburg, Players with Musica Antiqua of London Germany. J. Schnabel- Marsch filr 8 Trompeten und 5 (August 2-7), London Brass International Srilckefur 7 Trompeten und Pauken; Eoerster Summer School with the London Brass (spgter Weinhold), Breslau, vor 18 15. International Trumpet Conference in (August 9-1 5), and The Venetian Tradition Anonym: Collection de 116 a 1 ou 2 Giiteborg (October 29-3 1). Contact: Little Benslow Trompettes, Hem, Paris, vor 1828 An international trumpet conference is to be held August 9-14, 1993 and is being hosted Hills, Hitchin, Herts, SG4 9RB, England, Anonym: Collection de 62 Fanfares avec Paroles a 1 ou 2 Trompettes; Hem, Paris, vor by the University of Gdteborg School of tel. 046249446, FAX 0462-440171. 1828 Music. There will be many natural trumpet Anonym: Collection d'Airs a 1 ou 2 performances and masterclasses. Faculty Trompettes, Jouve. Paris, um 18 15. from conservatories throughout Europe will perform, lecture, and teach at the

HBS Newsletter. Issue 5. Page 63 conference. Contact: University of GOteborg L'Harmonie Universelle Ancienne School of Music, Bengt Eklund, Box 5439, exploits the possibilities of S-40229, Gdteborg, Sweden. Fax 46-773- "Historic Brass," and its special 4030. focus on period brass instruments in every concert. The international LtHarmonie Universelle Ancienne make-up of some of its ensembles Celebrates Four Anniversaries and the wide scope of repertoire L'Harmonie Universelle Ancienne, South- (medieval through early 20thcen- western Ontario's early music ensembles tury) possible with its varied using authentic period instruments, gave groups under the same umbrella their inaugural concert on St. Cecilia's Day, name, makes LWarmonie November 22, 1987. They recreated that Universelle unique in the world. programme on November 22, 1992 to celebrate the groups' fifth anniversary and ExUmbris Debut their sixth season of "Bringing the Past to ExUmbris (out of the shadows) is Life" in Canada. The featured work was an early music group specializing Fingering the 1 lth and 12th Keys Henry Purcell's Hail! Bright Cecilia!, an in the repertory of music from the ode composed to honor the patron saint of 14th and 15th centuries. The five music on St. Cecilia's Day in 1692, precisely members of the ensemble, Karen Hansen, violin, cello and soprano voice. It became three centuries prior. Groups performing the Karen Clark Young, Grant Herreid, Tom well known, especially in Alsace where 300th anniversary of the &cell ode, under Zajac, and Paul Shipper, have performed brass music is well represented. After 1981 the baton of baroque trumpeter Henry with virtually every leading early music a natural trumpet ensemble (with timpani) Meredith, were L'Orchestre de LWarmonie ensemble in the U.S. They sing and play was formed; it was certainly the first ensem- Universelle and the chamber choir Con Voci several dozen wind, percussion and string ble of its kind in France and it gave a lot of Festive. The season began on October 25, instruments and place a special emphasis on concerts with or without organ. Original 1992 with an 1867 brass band concert improvisation and other unwritten elements Baroque, Classical, and Romantic works for saluting the 125th anniversary of Canada's of performance. ExUmbris presented their one or two solo trumpets or three-four Confederation and featuring The Vintage debut concert on April 24,1993 in New Brass Unlimited playing over-the-shoulder York City with a program of music from trumpets, timpani and organ (basso contin- saxhorns, cornopeans, and keyed bugles. France, Italy and Spain. uo or reduction) constitute the ensemble's The rarely heard first version of Handel's repertoire, In 1984 Alta Musica also formed Esther ( 1 7 18) was performed in several Per-Olov Li ndeke and Tromba Consort a brass quartet with modern instruments Ontario centers in conjunction with the The Tromba Consort, founded in 1987 by (two trumpets, two trombones). The troni- Norfolk Singers during February, 1993. its director Per-Olov Lindeke, has bone players sometimes play the lower parts Their popular annual Victorian Echoes established itself as a leading natural in the trumpet ensemble on natural vintage-dance weekend April 30-May 2, trumpet ensemble. They specialize in the trumpets. 1993, featured a mid- 19thcentury grand performance of 17th and 18th century ball and the music of Stephen Foster with repertoire. Lindeke performs on natural the Queen's Quadrille & Quickstep Society trumpet with La Chapelle Royale, the The trumpeter and leader of the ensemble, Orchestra and the Pleasant Moments Orchestre de Champs Elysie, Nederlands Marc Meissner, works with specialists of Vintage Dancers. Later in May, 1993, Bachvereinigung and the Barockorchester ancient brass music (Tarr, Hillier) to find L'Orchestre de LWarmonie Universelle Stuttgart. He has recently recorded all the new music to be performed by Alta Music. presented Boyce's Solomon and Purcell's Sonatas and Sinfonias of G. Torelli with He has also published some editions for Jubilate Deo in several cities. They also Edward Tarr and completed a tour in trumpet ensemble (W. Haas Verlag, Hein- provided period music for military re- Scandinavia performing the Bach's Second richshofen) and he is a member of the HBS. enactments honoring the 200th anniversary Brandenburg Concerto. This August he The members of Alta Musica are teachers, of the founding of London, Ontario and for a plans to record the Leopold Mozart Trumpet engineers, students (of music and musicol- 1793-era Lieutenant-Governor's Grand Ball. Concerto and three sinfonias of Scheibe ogy), as well as professional musicians. In June, L'Orchestre de LWarmonie Univer- with Conserto Copenhagen. Contact: Per- selle provided period accompaniment for Olov Lindeke, V.Vallgatan 37,271 35 They play on long natural trumpets by E. Handel's Solomon sung by the Amabile Ystad, Sweden, teVFAX 46-04 1 1-1959 1. Meinl, J. van der Heide, R. Barclay, and J. Singers in concert and on a CD recording. Webb. The various groups, directed by Henry Alta Musica Celebrates 20th Anniversary Meredith, performed many additional the ensemble Alta Musica (Alsace, France) Alta Musica tries to bring back the musical engagements across North America for was founded in 1973 by Marc Meissner, a and visual traditions of the legendary HoJ special events or hstoric occasions. These trumpeter, and Daniel Hauptmann, an trompeter and Stadfpefer, and performs not recently included the QQQ Society Orches- organist. It is possibly the oldest ensemble only in concert, but also in church services, tra putting on a grand ball for the Victorian open-air serenades, historic festivals, and Days clebration in Mercer, Pennsylvania, of Baroque brass (trumpets, trombones, the Vintage Brass performing at Upper timpani and organ) in France, and 1993 is banquets ( Tafilmusik). Contact: Marc Canada Village, presenting a concert and the year of its 20th anniversary. Alta Musica Meissner, 10 rue du Quai, G-7 1 10 Reichs- workshop at the London Regional Historical first played with one or two trumpets (also hoffen, France. Museum, and leading a parade in honor of cornetto and sackbut) and organ, then later Elmira, Ontario's 100-year-old bandstand. (1 975-1 979) the ensemble added recorder,

HBS Newsletter, Issue 5, Page 64 Eighth Annual Early Brass Festival I

The Historic Brass Society and Amherst Early Music will present No refund of fees after July 15. Rooms are $28 per person per the Ninth Annual Early Brass Festival on July 30-August 1, 1993 night ($50 per night for a double room). Inexpensive dining is on the campus of Amherst College, Amherst, MA. The Festival available nearby. will include concerts, panels, papers and Informal playing for cornett, sackbut, natural trumpet, natural horn, serpent, 19th- For additional information contact Jeffrey Snedeker, 404 N. century brass and other early brass instruments. Presentations will Sampson, Ellensburg, WA 98926, tel. (509) 962-2977; Stewart include: Carter, Music Dept., Wake Forest University, Winston-Salem, NC .+- - - - - 27109, tel. (919) 759-5 106; or Gary Nagels, 897 Pierre Maufay, Douglas Kirk: The Earliest Wind-Band Manuscriptfrom Ste. Foy, Quebec GI V 2M9, tel. (4 18) 687-4299. Renaissance Spain James Wheat: New Considemtions Regarding the Trompeta in Registration form for the 9th Annual Early Brass Festival. Send 1Sth-Century Polyphonic Repertoire this application with your check for the Festival fee only, payable Ralph Dudgeon: Simon Proctor's Concerto for Keyed Bugle: to Amherst Early Music, Inc., to Early Brass Festival, 404 N. Pe$omance and Discussion Sampson, Ellensburg, WA 98926. Lodging is payable at Amherst. Jay Krush: The Music ofFmncis Johnson and His Contemporaries Trevor Herbert: The Minter Collection: A Window on 17th- and Name 18th-Century Trumpet Repertoire Margaret Downie Banks: On the Cutting Edge: A Study of the Conn Company Engravers and Their Art John Erickson: Henri Kling. Oscar Franz and Horn Technique in the Late 19th Century Address Stewart Carter: Andreas Hammerschmidt and the Trombone

As a special event, the ensemble Les Sonneurs de Montreal will present repertoire from Douglas Kirk's presentation in a concert of Spanish Wind-Band Music. Group Leaders for the weekend are: Richard Seraphinoff, horns; Fred Holmgren and Bany Bauguess, trumpets; Ralph Dudgeon, 19thcentwy brasses; Gary Nagels and Stewart Carter, cornetts Telephone and sackbuts. Festival Staff: Stewart Carter, Gary Nagels, Jeffrey Snedeker, co-directors; Ben Peck, advisor. Will you need housing? Indicate when you will need a Single ($28 per night) or Double ($50 per night) A special invitation is issued this year to those interested in - keyed brasses and saxhorns! Fri., July 30 ; Sat., July 31 ;Sun., Aug. 1 Registration begins Friday, August 7 at 5:00 P.M.The first session Housing fees are due on arrival at Amherst and should be made by of presentations will be Friday at 7:00, followed by informal check payable to Amherst Early Music, Inc. playing. The Festival continues on Saturday with presentations, * Please note: We cannot guarantee accommodations on Sunday night for playing sessions, the annual HBS membership meeting and a those not attending the first week ofthe Amherst Early Music Festival. pizza-and-beer party on Saturday night. Presentations and playing Anyone requesting such accommodations should be prepared to change rooms. will continue on Sunday, concluding with a gala concert in the late afternoon. Send me information on the Amherst Early Music Festival Please bring ensemble music to the Amherst! The Early Brass Send me information on the Historic Brass Society I Festival is NOT a workshop, and no formal instruction is offered. Playing sessions are informal, and any performance resulting from them is a felicitous by-product rather than an intentional outcome. Group leaders serve on a volunteer basis, and their function is Those interested in instruction and regular classes in cornetto and largely to coordinate - rather than "teach" - ensembles. Please sackbut are encouraged to attend the Amherst Early Music bring appropriate music for use in these groups - and also bring Festival Insitute, Aug. 1-8 and 8-1 5. For information about the your own music stand! Institute, please write to Amherst Early Music. Inc., 65 W. 95th Street, #]A, New York, NY 10025 (Tel: 212-222-3351). The Festival fee is $55 ($30 for members of the Historic Brass Society). A $5 discount is available for full-time students and a $5 discount for applications (with fee) received by July 15.

HBSNewsletter. Issue 5, Page 65 NAME: (Title) (First) (Last) ADDRESS:

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Enclosed: members hi^ Dues ( ) $15.00 - 1993 Membership for individuals in the United States or Canada. ( ) $10.00 - 1993 Membership for full time students or senior citizens (USA only) ( ) $20.00 - 1993 Membership for individuals who live in other countries. ( ) $55.00 - 1993,1994,1995three year membership for individuals who live in other countries. ( ) $25.00 - LibraryAnstitution 1 year subscription

The Historic Brass Society, Inc. is a non-profit tax-exempt organization. All contributions are tan deductable. Please help the HBS with a tax-deductablecontribution. $ Contribution $ Dues $ Back Issues (check list below) Total: $

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HBS Newsletter, Issue 5. Page 66