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Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Company 300 I Jorth Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313'761-4700 800/521-0600 Order Number 9105066 The comet à pistons in French and French-influenced orchestration &om 1830 to 1936 Davis, Joyce Francine, D.M.A. The Ohio State University, 1990 Copyright ©1990 by Davis, Joyce Francine. All ri^ ts reserved. UMI SOON. Zeeb Rd Ann AAor, MI 48106 THE CORNET A PISTONS IN FRENCH AND FRENCH-INFLUENCED ORCHESTRATION FROM 1830 TO 1936 DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the Ohio State University By Joyce Francine Davis, B.M., M.M. The Ohio State University 1990 Document Committee: Approved by Dr. Richard Burkart Dr. Peter Gano ,____________ Adviser Prof. Craig Kirchhoff School of Music Copyright by Joyce Francine Davis 1990 To My Parents Kathleen Bush Davis The Ohio State University Bachelor of Science in Pharmacy, 1939 Joseph Jeffrey Davis The Ohio State University Bachelor of Science in Pharmacy, 1939 Bachelor of Arts, 1941 Doctor of Medicine, 1943 11 ACKN0WLEDO1ENTS I would like to acknowledge and thank the members of my Doctoral Committee at the Ohio State University: Dr. Richard Burkart, Professor of Trumpet and Adviser; Professor Craig Kirchhoff, Director of Bands and Chair of the Performance Division; Dr. Margarita Mazo, Professor of Music History; Professor Charles Waddell, Professor of Horn; and Dr. Peter Gano, Professor of Music History and superviser of the docu ment who spent a great deal of time and patience with me in the preparation of the paper. I would also like to acknow ledge Dr. David Z. Kushner, Professor of Music History and Head of Musicology at the University of Florida, for his assistance and encouragement. Ill VITA November 26, 1951 .......... Born - Pomeroy, Ohio 1972 ...................... B.M., Florida State University, Tallahassee, Florida 1977 ...................... M.M., Northwestern University, Evanston, Illinois 1975-76 ................... Principal Trumpet, Orquesta Sinfonica del Estado de Mexico 1981-83 .................... Principal Trumpet and Soloist, Cape Town Symphony Orchestra 1987-88 .................... Principal Trumpet and Soloist, Orquesta Filharmonica de la UNAM, Mexico City, Mexico 1989-Present.............. Assistant Professor of Trumpet, University of Florida, Gainesville, Florida PUBLICATION Journal of the International Trumpet Guild 11, no. 4 (May 1987). Co-author of "A Selected Annotated Bibliography of Source Material Pertaining to 16th and 17th-Century Performance Practices." FIELDS OF STUDY Major Field: Music Study in Trumpet. IV TABLE OF CONTENTS DEDICATION........................................... ii ACKNOWLEDOENTS...................................... iii VITA .................................................iv INTRODUCTION.................. ;....................... 1 CHAPTER...................... ■...................... PAGE 1 ................................................ 5 The history of the valve ....................... 5 The cornet à pistons........................... 15 II. THE INTEGRATION OF THE CORNET À PISTONS INTO THE ORCHESTRA..................................... 20 Berlioz..................................... 22 III. A SURVEY OF FRENCH COMPOSERS..................... 38 IV. THE CORNET À PISTONS IN SYMPHONIC MUSIC IN EUROPE OUTSIDE OF FRANCE...............................58 Tchaikovsky................................. 58 Georges Enesco ............................. 74 V e r d i ...................................... 77 Germany.................................... 84 England.................................... 86 Scandinavia................................. 92 V. THE CORNET Â PISTONS IN THE MUSIC OF IGOR STRAVINSKY.................................... 93 VI. PROKOFIEV...................................... 118 CONCLUSION........................................... 128 BIBLIOGRAPHY ........................................ 132 INTRODUCTION In the early nineteenth century, composers needed a high brass instrument which was capable of being played chroma tically and possessed an acceptable tone quality. During the preceding Classical era, the role- of the natural trumpet in the symphonic repertoire basically was to serve a harmonic function. Beethoven, in his fifth and ninth symphonies, wrote diatonic passages which were performed on the natural trumpet and in the solo genre, Haydn and Hummel had written concerti for the keyed trumpet, a chromatic instrument which possessed a tone quality that was uneven from note to note as a result of the keyed mechanism. The trumpet required a de vice which would enable the instrument to play chromatically, but would not effect the tone quality of the instrument. Stolzel and Blühmel provided this device when they invented the valve c. 1813. This innovation determined the future of brass playing. In Germany, the valve was readily applied to the trumpet, and the new innovation was accepted into the orchestra by trumpet players there. French trumpet players, on the other hand, would not play the valved trumpet in the orchestra, a stigma which remained in French orches tras until well past the middle of the nineteenth century. Indeed the valved trumpet was truly integrated into the 2 French orchestral trumpet section only in the last fifteen years of that century. The cornet à pistons became the acceptable alternative for French composers. This instrument was originally played by hornists, but when the design of the mouthpiece changed, trumpet players took up the cornet. Hector Berlioz, in his Treatise on Instrumentation, gave us a great deal of information about both the cornet and trumpet in the nineteenth century. In his Memoirs, he also wrote about the cornet and its use in France. The cornet à pistons played an active role in his orchestration. Although he claimed the instrument possessed a "vulgar" tone quality, Berlioz scored consistently for the cornet throughout his compositional output. Further, he was imitated by his contemporaries and the succeeding generations of composers not only in France, but also in other countries. A large amount of orchestral music, including opera, was examined in the preparation of this document to determine which composers did use the cornet à pistons in their orches trations. The French school had a tremendous impact on the Russians in particular, whereas the Germanic composers did not employ the cornet in their symphonic repertoire. The historical contributions of Berlioz, Adam Carse, Anthony Baines, Edward Tarr, and Richard Birkemeier were extremely helpful in the preparation of the document. Research in regard to Russian composers was greatly aided through work with Dr. Margarita Mazo at the Ohio State University. The document discusses the development of the valve and its application to the cornet. The implementation of the instrument into the French orchestra took place early in the nineteenth century giving credence to the premise that French composers were looking for a viable high brass instrument with a chromatic capacity. A survey, with numerous musical examples, of Berlioz's works and other French composers of significant stature of the nineteenth and early twentieth century illustrates the important role that the cornet à pistons played in the symphonic idiom. Outside of France, composers such as Verdi, Tchaikovsky, Elgar, and Vaughan Williams incorporated the cornet à pistons into their orchestrational palette. In most instances, a direct line can be drawn from these non-French composers either to the French school of the nineteenth century or to Paris as an artistic and culture center. Stravinsky, through his early training in Russia and later relationship with Dyagilev and the Ballets Russes, was well aware of French compositional style. This document examines his use of the cornet à pistons in the 1911 version of Petrushka and in the chamber work, L'histoire du soldat. Prokofiev, like Stravinsky, was indoctrinated into western European music in his youth and his exposure to the artistic life of Paris no doubt influenced

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