Keyed trumpet

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Keyed trumpet
MIMEd 5782. Keyed Trumpet in G with C and D crooks by Stohr c. 1830 (whitebalance).png
Keyed trumpet in G by Franz Stöhr, c. 1830. St Cecilia's Hall, Edinburgh
Brass instrument
Other names
Classification brass
Hornbostel–Sachs classification 423.211
(chromatic labrosone with keys and cylindrical bore)
DevelopedLate 18th century
Related instruments
Musicians
Builders
Historical:
  • Alois Doke
  • Josef Riedl
  • Franz Stöhr
Modern replicas:
  • Blaswerkstatt Burri
  • David Edwards
  • Egger

The keyed trumpet is a cylindrical-bore brass instrument in the trumpet family that makes use of tone holes operated by keys to alter pitch and provide a full chromatic scale, rather than extending the length of tubing with a slide or valves. It was developed from the natural trumpet in the 18th century and reached its high-point in popularity c.1800 when two important trumpet concertos were written for it by Austrian composers Joseph Haydn and Johann Nepomuk Hummel, but waned with the invention of valves in the 1820s and the subsequent emergence of the modern valved trumpet. It is rarely seen in modern performances.

Contents

History

Leonardo da Vinci's diagrams of a trumpet with tone holes and keys (lower left), c. 1480-1518 Codex Arundel 263 f. 175r.jpg
Leonardo da Vinci's diagrams of a trumpet with tone holes and keys (lower left), c.1480–1518

The idea of applying keys to the natural trumpet, in order to extend its available notes beyond the harmonic series, was first documented by Leonardo da Vinci as a series of annotated diagrams written c.1480–1518. [1] Da Vinci describes a mechanism using a wire or thin rod to link finger-operated buttons to remote keys or pads, allowing tone holes to be in their acoustically correct positions without having to be covered directly by the fingertips. Like many of his ideas, it was not realised for centuries. [2]

The invention of the keyed trumpet is often attributed to Viennese court trumpeter Anton Weidinger, its most successful and earliest proponent, who was certainly involved in its early development and built one of the first prototypes. [3] However further research has revealed many conflicting records, accounts, and details of surviving instruments that attest to its simultaneous independent invention in several places within a short period, such that the very first inventor may never be known with certainty. [4] The lack of surviving instruments from this early period further obscures its history.

The very first designs of keyed trumpet were intended to correct the intonation of the notes in the harmonic series, rather than to extend its capabilities to a full chromatic scale. [5] The harmonic trumpet, a silver trumpet in E♭ with crooks for D, C, and B♭ and four keys, was made by London instrument maker William Shaw for King George III in 1787. Eric Halfpenny found that each key corresponds to one of the four crooks and raises the pitch by a fifth, providing a fuller range of notes by allowing the player to switch between two harmonic series as required. This instrument not only predates Weidinger's instrument, but may have been known to Austrian composer Joseph Haydn, who was making extended visits to London at the time. He composed his trumpet concerto in 1796, the year after his last visit, and early music trumpet specialist Crispian Steele-Perkins postulates that this instrument, via Haydn, may have inspired the further development of keyed trumpets in Vienna by Weidinger and others. [6] [7]

The keyed trumpet's popularity peaked in the first decades of the 19th century, sustained by Weidinger and subsequent players throughout Europe. [8] It unlocked the chromatic scale for trumpet players, increasing the versatility of the instrument and allowing its use in the orchestra as a featured, rather than background, instrument. [9] It's popularity was relatively short-lived, remaining in frequent use until only the 1830s and 1840s, by which time the cornet à pistons and valved trumpet had replaced it. [10] This fate was shared by many other historical brass instruments that were replaced by their valved improvements, such as the serpent, early cimbasso, ophicleide, and keyed bugle.

Construction

The keyed trumpet has raised tone holes in the wall of the tubing, similar in construction to the later ophicleide or saxophone. [8] These are closed by keys with pads, operated by the fingers via a rod and lever mechanism, similar to those used on woodwind instruments. [10] The experimental E keyed trumpet was not confined to the natural notes, but was chromatic in all registers of the instrument. [11] Before this, the trumpet was commonly valveless and could only play the notes of the harmonic series by altering the lip tension and embouchure, a group of instruments referred to as natural or Baroque trumpets. [9] These harmonic notes were clustered in the high registers, so previous trumpet concertos could only play melodies at very high pitches.

Repertoire

In 1796, Austrian composer Joseph Haydn wrote his Trumpet Concerto for Vienna court musician Anton Weidinger, who performed its première on 22 March 1800 at the Imperial and Royal Court Theatre. The piece begins with the broken triads and fanfare motifs common to trumpet music of the time (to amuse the audience who had come to see this exciting new kind of trumpet), but follows with chromatic runs and diatonic melodies not possible on the natural trumpet. [12] This allows the concerto to be the first trumpet solo written in sonata-allegro form. [13] The highest note in the concerto is high concert D, or high E on a B trumpet, or a high B on E trumpet for which it was written.

Like Haydn, Austrian composer Johann Nepomuk Hummel wrote his Trumpet Concerto for Anton Weidinger. It was written and performed in 1803 to mark his entrance into the Esterházy court orchestra in 1804, following Haydn. There are places, primarily in the second movement, where Weidinger is believed to have changed the music because of the execution of the instrument; it is unknown whether this was in agreement with Hummel.[ citation needed ]

Other works

Below is a list of pieces originally written to have keyed trumpet:

Sigismund Neukomm - Requiem (with keyed trumpet interludes) - 1815 [8]

Antonio Casimir Cartellieri - Polonaise in A - 1815 [8]

Johann Nepomuk Hummel - Trio for pianoforte, violin and trumpet. (possibly the influence for Rondo from Hummel’s trumpet concerto) - 1802 [8]

Joseph Weigl - Concerto in E flat for Corno Inglese, Flauto d’amore, Tromba, Viola d’amore, Cembalo and Violoncello - 1799 [8]

Leopold Kozeluch - Concertante in E flat major for mandolin, keyed trumpet, double bass, pianoforte and orchestra - 1798 [8]

Performance

Keyed trumpet by I. Bauer, Prague, 1817 Musikinstrumenten-Museum Berlin - Klappentrompete in G - 1106598.jpg
Keyed trumpet by I. Bauer, Prague, 1817

Due to its physical characteristics—cylindrical bore, bell shape, and historical mouthpiece—the keyed trumpet is closer in tone to the natural trumpet than the valved trumpet. It was once said to have sounded like a "Demented Oboe... despite Haydn's efforts, the keyed trumpet had no real success- the explanation may be that the holes detracted from the brilliant tone of the instrument." [11] Nevertheless, the combination of wide-flared bell and cylindrical bore introduces inherent acoustical problems, especially compared its conical-bore equivalent the keyed bugle. The keyed trumpet has a different, weaker tone on open-keyed notes, due to the inability of the bell to support the harmonics produced when shortening the cylindrical air column. [15] This inferior tone quality is ultimately what allowed the keyed trumpet to be surpassed by the valved trumpet. [9]

There are few people that play the keyed trumpet today, and it is generally used only in historically informed performances. Modern experts on the keyed trumpet include Markus Wuersch, Mark Bennett and Barry Bauguess; given that there are few people who can play this specialized instrument, performances are rare and almost exclusively performances of the Haydn or Hummel concertos. [16] The argument for using keyed trumpets in the modern day is that you get the distinct tone qualities of the instrument. [17] Keyed trumpets have a rich, overtone filled sound due to them being double the length of the modern trumpet. Today, orchestral music is seeing a push to return to period instruments in order to preserve the compositions in the way the composer intended. This push is what has caused instrument makers like Konrad Burri to revisit and produce period instruments like the keyed trumpet in the modern day. [17]

Recordings

Although performances using the keyed trumpet are rare, there are a few recordings that can be listened to:

See also

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">Cornet</span> Brass instrument

The cornet is a brass instrument similar to the trumpet but distinguished from it by its conical bore, more compact shape, and mellower tone quality. The most common cornet is a transposing instrument in B. There is also a soprano cornet in E and cornets in A and C. All are unrelated to the Renaissance and early Baroque cornett.

<span class="mw-page-title-main">French horn</span> Type of brass instrument

The French horn is a brass instrument made of tubing wrapped into a coil with a flared bell. The double horn in F/B is the horn most often used by players in professional orchestras and bands, although the descant and triple horn have become increasingly popular. A musician who plays a horn is known as a horn player or hornist.

<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">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">Trumpet</span> Brass instrument

The trumpet is a brass instrument commonly used in classical and jazz ensembles. The trumpet group ranges from the piccolo trumpet—with the highest register in the brass family—to the bass trumpet, pitched one octave below the standard B or C trumpet.

<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".

In music theory, the key of a piece is the group of pitches, or scale, that forms the basis of a musical composition in Western classical music, art music, and pop music.

Tonality or key: Music which uses the notes of a particular scale is said to be "in the key of" that scale or in the tonality of that scale.

<span class="mw-page-title-main">Johann Nepomuk Hummel</span> Austrian composer and pianist (1778–1837)

Johann Nepomuk Hummel was an Austrian composer and virtuoso pianist. His music reflects the transition from the Classical to the Romantic musical era. He was a pupil of Mozart, Salieri and Haydn. He also knew Beethoven and Schubert.

<span class="mw-page-title-main">Natural horn</span> Unvalved ancestor of modern-day horn

The natural horn is a musical instrument that is the predecessor to the modern-day (French) horn. Throughout the seventeenth and eighteenth century the natural horn evolved as a separation from the trumpet by widening the bell and lengthening the tubes. It consists of a mouthpiece, long coiled tubing, and a large flared bell. This instrument was used extensively until the emergence of the valved horn in the early 19th century.

Anton Weidinger was an Austrian trumpet virtuoso in the classical era, and a "k. k. Hof-Trompeter". He was friends with Haydn, Mozart, Beethoven and Hummel.

<span class="mw-page-title-main">Natural trumpet</span> Early form of trumpet preceding the invention of keys or valves

A natural trumpet is a valveless brass instrument that is able to play the notes of the harmonic series.

<span class="mw-page-title-main">Crook (music)</span>

A crook, also sometimes called a shank, is an exchangeable segment of tubing in a natural horn which is used to change the length of the pipe, altering the fundamental pitch and harmonic series which the instrument can sound, and thus the key in which it plays.

<span class="mw-page-title-main">Trumpet Concerto (Haydn)</span> Trumpet concerto composed by Joseph Haydn

Joseph Haydn composed the Concerto per il Clarino in 1796 for the trumpet virtuoso Anton Weidinger. Joseph Haydn was 64 years of age. A favourite of the trumpet repertoire, it has been cited as "possibly Haydn's most popular concerto". Although written in 1796, Weidinger first performed the concerto four years later on March 28, 1800.

Johann Nepomuk Hummel completed his Concerto a Trombe Principale in December 1803. It was performed on New Year's Day 1804 to mark Hummel's entrance into the court orchestra of Nikolaus II, Prince Esterházy as Haydn's successor.

<span class="mw-page-title-main">Saxotromba</span> Musical instrument

The saxotromba is a valved brass instrument invented by the Belgian instrument-maker Adolphe Sax around 1844. It was designed for the mounted bands of the French military, probably as a substitute for the French horn. The saxotrombas comprised a family of half-tube instruments of different pitches. By about 1867 the saxotromba was no longer being used by the French military, but specimens of various sizes continued to be manufactured until the early decades of the twentieth century, during which time the instrument made sporadic appearances in the opera house, both in the pit and on stage. The instrument is often confused with the closely related saxhorn.

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

The saxtuba is an obsolete valved brass wind instrument conceived by the Belgian instrument-maker Adolphe Sax around 1845. The design of the instrument was inspired by the ancient Roman cornu and tuba. The saxtubas, which comprised a family of half-tube and whole-tube instruments of varying pitches, were first employed in Fromental Halévy's opera Le Juif errant in 1852. Their only other public appearance of note was at a military ceremony on the Champ de Mars in Paris in the same year. The term "saxtuba" may also refer to the bass saxhorn.

<span class="mw-page-title-main">Horn (instrument)</span> Brass instrument

A horn is any of a family of musical instruments made of a tube, usually made of metal and often curved in various ways, with one narrow end into which the musician blows, and a wide end from which sound emerges. In horns, unlike some other brass instruments such as the trumpet, the bore gradually increases in width through most of its length—that is to say, it is conical rather than cylindrical. In jazz and popular-music contexts, the word may be used loosely to refer to any wind instrument, and a section of brass or woodwind instruments, or a mixture of the two, is called a horn section in these contexts.

<span class="mw-page-title-main">German horn</span> Musical instrument often made of brass

The German horn is a brass instrument made of tubing wrapped into a coil with a flared bell, and in bands and orchestras is the most widely used of three types of horn, the other two being the French horn and the Vienna horn. Its use among professional players has become so universal that it is only in France and Vienna that any other kind of horn is used today. A musician who plays the German horn is called a horn player. The word "German" is used only to distinguish this instrument from the now-rare French and Viennese instruments. Although the expression "French horn" is still used colloquially in English for any orchestral horn, since the 1930s professional musicians and scholars have generally avoided this term in favour of just "horn". Vienna horns today are played only in Vienna, and are made only by Austrian firms. German horns, by contrast, are not all made by German manufacturers, nor are all French-style instruments made in France.

References

  1. 1 2 da Vinci, Leonardo (1998) [written some time between c.1480–1518]. "Codex Arundel, Arundel MS 263, ff.174v-175r". London: The British Library . Retrieved 25 June 2024 via Google Arts & Culture. Cited in Klaus (2013).
  2. Klaus 2013, p. 159, see also: Codex Arundel 263, folio 175r.
  3. Warburton 1980, p. 76.
  4. Klaus 2013, p. 167.
  5. Klaus 2013, p. 160.
  6. Klaus 2013, p. 161-162.
  7. Shaw, William (1787). "Trumpet". London: Royal Collection Trust. Accession: RCIN 72313. Retrieved 26 June 2024.
  8. 1 2 3 4 5 6 7 Russell, William (2008). "Background Research". The Keyed Trumpet. Archived from the original on 16 February 2023. Retrieved 1 March 2023.
  9. 1 2 3 Dahlqvist, Reine (2001). "Keyed trumpet" . Grove Music Online (8th ed.). Oxford University Press. doi:10.1093/gmo/9781561592630.article.14950. ISBN   978-1-56159-263-0 . Retrieved 16 February 2023.
  10. 1 2 Webb, John (1986). "19th-Century Keyed Brass". The Musical Times. 127 (1716): 83–85. doi:10.2307/964561. ISSN   0027-4666. JSTOR   964561.
  11. 1 2 Geiringer, K and Geiringer, I (1982) Haydn: A Creative Life in Music, p. 324-325
  12. Klaus 2013, p. 188.
  13. "Trumpet Concerto in E-flat major, Hob.VIIe:1 (Haydn, Joseph) - IMSLP: Free Sheet Music PDF Download". imslp.org. Retrieved 16 February 2023.
  14. Bauer, I. (1817). "Klappentrompete in G". Staatliche Museen zu Berlin. Accession: 1063. Retrieved 26 June 2024.
  15. Klaus 2013, pp. 168–169.
  16. "The Keyed Trumpet". Siouxland Public Media. 2015-10-15. Retrieved 16 February 2023.
  17. 1 2 Würsch, Markus (keyed trumpet); Burri, Konrad (instrument maker) (2022). The Keyed Trumpet – Newly Born (Video) (in German). Zimmerwald: Dingo And Fox Productions. Retrieved 16 February 2023 via YouTube. Subtitles in English.
  18. Mark Bennett, Mark (keyed trumpet); The English Concert; Pinnock, Trevor (conductor); Haydn, Joseph (composer). Haydn: Concerto for Trumpet and Orchestra in E♭ major (CD Recording). Archiv Produktion. Catalog E4316782 . Retrieved 16 February 2023 via YouTube.
  19. Würsch, Markus (keyed trumpet); Bieler Kammerorchester / Orchestre de Chambre de Bienne; Mast, Beda (conductor); Hummel, Johann Nepomuk (composer). Markus Würsch performs Hummel Trumpet Concerto in E Major (Video). Dingo And Fox Productions. Retrieved 16 February 2023 via YouTube.

Bibliography