Cimbasso

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Cimbasso
Cimbasso in f.jpg
A modern cimbasso in F
Brass instrument
Classification
Hornbostel–Sachs classification 423.233.2
(Valved aerophone sounded by lip vibration with cylindrical bore longer than 2 metres)
Developedearly 19th century, in Italian opera orchestras; modern design emerged mid 20th century
Playing range
Cimbasso
The range of the early cimbasso (see serpent, ophicleide) [1] and modern cimbasso in F
Related instruments
Musicians
Builders
[2]

The cimbasso is a low brass instrument that covers the same range as a tuba or contrabass trombone. First appearing in Italy in the early 19th century as an upright serpent, the term cimbasso came to denote several instruments that could play the lowest brass part in 19th century Italian opera orchestras. The modern cimbasso design, first appearing as the trombone basso Verdi in the 1880s, has four to six rotary valves (or occasionally piston valves), a forward-facing bell, and a predominantly cylindrical bore. These features lend its sound to the bass of the trombone family rather than the tuba, and its valves allow for more agility than a contrabass trombone. Like the modern contrabass trombone, it is most often pitched in F, although models are occasionally made in E♭ and low C or B♭.

Contents

In the modern orchestra, cimbasso parts are usually played by tuba players as a doubling instrument. Although most commonly used for performances of late Romantic Italian opera, it has since found increased and more diverse use. Jazz musician Mattis Cederberg  [ sv ] uses cimbasso in big bands and as a solo instrument. Cimbasso is now commonly called for in film and video game soundtracks. Los Angeles tuba players Tommy Johnson, Doug Tornquist and Jim Self have featured on many Hollywood recordings playing cimbasso, particularly since the popularisation of loud, low-brass heavy orchestral soundtracks.

Etymology

The Italian word cimbasso, first appearing in the early 19th century, is thought to be a contraction used by musicians of the term corno basso or corno di basso (lit.'bass horn'), sometimes appearing in scores as c. basso or c. in basso. [3] The term was used loosely to refer to the lowest bass instrument available in the brass family, which changed over the course of the 19th century. In the mid-20th century the word cimbasso began to be used in German-speaking countries to refer to slide contrabass trombones in F. [4] This vagueness long impeded research into the instrument's history. [5]

History

The first uses of a cimbasso in Italian opera scores from the early 19th century referred to a narrow-bore upright serpent similar to the basson russe (lit.'Russian bassoon'), which were in common use in military bands of the time. [6] These instruments were constructed from wooden sections like a bassoon, with a trombone-like brass bell, sometimes in the shape of a buccin-style dragon's head. [7] Fingering charts published in 1830 indicate these early cimbassi were most likely to have been pitched in C. [8]

Later, the term cimbasso was extended to a range of instruments, including the ophicleide and early valved instruments, such as the Pelittone and other early forms of the more conical bass tuba. As this progressed, the term cimbasso was used to refer to a more blending voice than the "basso tuba" or "bombardone", and began to imply the lowest trombone. [9]

By 1872, Verdi expressed his displeasure about "that devilish bombardone" (referring to an early valved tuba) as the bass of the trombone section for his La Scala première of Aida , preferring a "trombone basso". [10] By the time of his opera Otello in 1887, Milan instrument maker Pelitti  [ it ] had produced the trombone basso Verdi (sometimes trombone contrabbasso Verdi, or simply trombone Verdi), a contrabass trombone in low 18′ B♭ wrapped in a compact form and configured with 4 rotary valves. Verdi and Puccini both wrote for this instrument in their later operas, although confusingly, they often referred to it as the trombone basso, to distinguish it from the tenor trombones. [11] This instrument blended with the usual Italian trombone section of the time—three tenor valve trombones in B—and was the prototype for the modern cimbasso. [9]

Early cimbasso instruments
"Russian Bassoon" (Bass Horn) MET DP249508 mod1.jpg
Cimbasso in Bb by Stowasser SCCHMM-95928 (white bg).jpg
Early cimbassos, left: the first cimbasso was similar to this early 19th century basson russe (Metropolitan Museum of Art, New York); right: early 20th century cimbasso in B♭ (after the trombone basso Verdi) by Czech maker Stowasser (St Cecilia's Hall, University of Edinburgh)

By the early 20th century the tuba was used in Italy for cimbasso parts, and the trombone Verdi, made mainly by Milanese and Bohemian manufacturers, disappeared from Italian orchestras. In 1959 German instrument maker Hans Kunitz developed a slide contrabass trombone in F with two valves based on a 1929 patent by Berlin trombonist Ernst Dehmel. [12] These were built in the 1960s by Gebr. Alexander and named "cimbasso" trombones. [4] The modern cimbasso found today emerged in Germany in the 1970s, its design ultimately descended from the Pelitti trombone Verdi design. Bremen brass instrument maker Thein took the contrabass trombone in F, fitted it with the valves and fingering of a modern F tuba, and named this new instrument the "cimbasso". [13]

Construction

The modern cimbasso is usually built with four to six rotary valves (or occasionally piston valves), a forward-facing bell, and a cylindrical bore. These features lend its sound to the bass of the trombone family rather than the tuba, and its valves allow for more agility than a contrabass trombone. [14] Like the modern contrabass trombone, it is most often pitched in 12-foot (12′) F, although instruments are made in 13′ E♭ and occasionally low 16′ C or 18′ B♭. [2]

The mouthpiece and leadpipe are positioned in front of the player, and the mouthpiece receiver is sized to fit tuba mouthpieces. The valve tubing section is arranged vertically between the player's knees and rests on the floor with a cello-style endpin, and the bell is arranged over the player's left shoulder to point horizontally forward, similar to a trombone. [15] [16] This design accommodates the instrument in cramped orchestra pits and allows a direct, concentrated sound to be projected towards the conductor and audience.

The bore tends to range between that of a contrabass trombone and a small F tuba, 0.587 to 0.730 inches (14.9–18.5 mm), and even larger for the larger instruments in low C or B♭. [17] The bell diameter is usually between 10 and 11.5 inches (250 and 290 mm). [2] There has been demand over time for larger bore instruments with a more conical bore and larger bell, in contrast with the trombone-like sound from smaller cylindrical bore instruments. This is because cimbasso parts are often played in the modern orchestra by tuba players, particularly in the US. Czech manufacturer Červený caters to both needs in its 2021 catalog which lists two cimbassi in F, one model with a small 0.598-inch (15.2 mm) bore and 10-inch (250 mm) bell listed with their valve trombones, and another with a tuba-like bore of 0.717 inches (18.2 mm) and a larger 11-inch (280 mm) bell with much wider flare, listed with their tubas. [18]

The cimbasso is usually built with rotary valves, although some Italian makers use piston valves. British instrument maker Mike Johnson builds cimbassi with four compensating piston valves as commonly found on British tubas, in both F/C and E♭/B♭ sizes. [19] Los Angeles tubist Jim Self had a compact F cimbasso built in the shape of a euphonium, which has been named the "Jimbasso". [20] In 2004 Swiss brass instrument manufacturer Haag released a cimbasso in F built with five Hagmann valves and a 0.630-inch (16.0 mm) bore. Although discontinued, this instrument is used by several operas and orchestras, including Badische Staatskapelle, Hungarian State Opera, and Sydney Symphony Orchestra, and by Swedish jazz musician Mattis Cederberg  [ sv ]. [21]

Repertoire and performance

Although the cimbasso in its modern form is most commonly used for performances of late Romantic Italian operas by Verdi and Puccini, since the mid 20th century it has found increased and more diverse use. Along with the contrabass trombone, it has increasingly been called for in film and video game soundtracks. [22] Los Angeles tuba players Tommy Johnson, Doug Tornquist and Jim Self have appeared on many Hollywood soundtracks playing cimbasso, [23] [20] especially since the popularization of loud, low-brass heavy orchestral music in films and video games such as the remake of Planet of the Apes (2001), Call of Duty (2003) and Inception (2010). [24] British composer Brian Ferneyhough calls for cimbasso in his large 2006 orchestral work Plötzlichkeit, and nu metal rock band Korn used two cimbassos in the live backing orchestra for their acoustic MTV Unplugged album. [25] Swedish jazz musicians Per–Åke Holmlander and Mattis Cederberg employ cimbasso in jazz as a solo instrument, and for playing the fourth trombone parts in big bands. [26] [27]

Historically informed performance of early cimbasso parts presents particular challenges. Unless proficient with period instruments such as serpent or ophicleide, it is difficult for orchestral low-brass players to perform on instruments that resemble the early cimbassi in form or timbre. It is also challenging for instrument builders to find good surviving examples to replicate or adapt. [28]

Although there is still a lack of consensus from conductors and orchestras, using a large-bore modern orchestral C tuba to play cimbasso parts is considered inappropriate by some writers and players. Italian organologist Renato Meucci recommends using only a small narrow-bore F tuba, or a bass trombone. [29] James Gourlay, conductor and former tubist with BBC Symphony Orchestra and Zürich Opera, recommends playing most cimbasso repertoire on the modern F cimbasso, as a compromise between the larger B♭ trombone basso Verdi instrument and the bass trombone. He also recommends using a euphonium in the absence of a period instrument for early cimbasso parts, which is closer to the sound of the serpent or ophicleide that would have been used before 1860. [30] Douglas Yeo, former bass trombonist with Boston Symphony Orchestra, even suggests that in a modern section of slide trombonists playing parts intended for valved instruments, it should not be unreasonable to perform the cimbasso part on a modern (slide) contrabass trombone. [31]

Related Research Articles

<span class="mw-page-title-main">Brass instrument</span> Class of musical instruments

A brass instrument is a musical instrument that produces sound by sympathetic vibration of air in a tubular resonator in sympathy with the vibration of the player's lips. Brass instruments are also called labrosones or labrophones, from Latin and Greek elements meaning 'lip' and 'sound'.

<span class="mw-page-title-main">Euphonium</span> Brass instrument

The euphonium is a medium-sized, 3 or 4-valve, often compensating, conical-bore, tenor-voiced brass instrument that derives its name from the Ancient Greek word εὔφωνος euphōnos, meaning "well-sounding" or "sweet-voiced". The euphonium is a valved instrument. Nearly all current models have piston valves, though some models with rotary valves do exist.

<span class="mw-page-title-main">Pitch of brass instruments</span>

The pitch of a brass instrument corresponds to the lowest playable resonance frequency of the open instrument. The combined resonances resemble a harmonic series. The fundamental frequency of the harmonic series can be varied by adjusting the length of the tubing using the instrument's valve, slide, key or crook system, while the player's embouchure, lip tension and air flow serve to select a specific harmonic from the available series for playing. The fundamental is essentially missing from the resonances and is impractical to play on most brass instruments, but the overtones account for most pitches.

<span class="mw-page-title-main">Saxhorn</span> Family of valved brass instruments

The saxhorn is a family of valved brass instruments that have conical bores and deep cup-shaped mouthpieces. The saxhorn family was developed by Adolphe Sax, who is also known for creating the saxophone family. The sound of the saxhorn has a characteristic mellow tone quality and blends well with other brass.

<span class="mw-page-title-main">Trombone</span> Brass instrument played with a slide

The trombone is a musical instrument in the brass family. As with all brass instruments, sound is produced when the player's vibrating lips cause the air column inside the instrument to vibrate. Nearly all trombones use a telescoping slide mechanism to alter the pitch instead of the valves used by other brass instruments. The valve trombone is an exception, using three valves similar to those on a trumpet, and the superbone has valves and a slide.

<span class="mw-page-title-main">Tuba</span> Brass instrument

The tuba is the largest and lowest-pitched musical instrument in the brass family. As with all brass instruments, the sound is produced by lip vibration – a buzz – into a mouthpiece. It first appeared in the mid-19th century, making it one of the newer instruments in the modern orchestra and concert band, and largely replaced the ophicleide. Tuba is Latin for "trumpet".

<span class="mw-page-title-main">Bass trumpet</span> Bass member of the trumpet family of brass instruments

The bass trumpet is a type of low trumpet which was first developed during the 1820s in Germany. It is usually pitched in 8' C or 9' B today, but is sometimes built in E and is treated as a transposing instrument sounding either an octave, a sixth or a ninth lower than written, depending on the pitch of the instrument. Having valves and the same tubing length, the bass trumpet is quite similar to the valve trombone, although the bass trumpet has a harder, more metallic tone. Certain modern manufacturers that sell 'valve trombones' and 'bass trumpets' employ the same tubing, valves, and bell in different combinations; in these circumstances, the bass trumpet is nearly similar to the valve trombone.

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<span class="mw-page-title-main">Valve trombone</span> Brass instrument in the trombone family with valves

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<span class="mw-page-title-main">Serpent (instrument)</span> Wooden S-shaped early brass instrument

The serpent is a low-pitched early wind instrument in the brass family developed in the Renaissance era. It has a trombone-like mouthpiece, with tone holes and fingering like a woodwind instrument. It is named for its long, conical bore bent into a snakelike shape, and unlike most brass instruments is made from wood with an outer covering of leather. A distant ancestor of the tuba, the serpent is related to the cornett and was used for bass parts from the 17th to the early 19th centuries.

<span class="mw-page-title-main">Superbone</span> Hybrid musical instrument in the trombone family with both a slide and valves

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<span class="mw-page-title-main">Ophicleide</span> 19th century keyed brass instrument

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<span class="mw-page-title-main">Alto trombone</span> Musical instrument in the trombone family

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Bibliography