The unnatural trumpet

Author(s): Graham Nicholson

Source: Early Music, Vol. 38, No. 2, Performing Bach (May 2010), pp. 193-202
Published by: Oxford University Press
Stable URL: https://www.jstor.org/stable/40731347
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 Graham Nicholson

The unnatural trumpet

the modern establishment of Baroque orches- in England, building harpsichords and lutes, form-
tras using historical instruments, the trumpet has ing gamba and recorder consorts, as well as publish-
posed particularly intractable problems. Through- ing editions from sources in British libraries. What
out the 18th and 19th centuries all instruments is less well known is that he also trained as a violinist,
underwent alterations, but none was altered to the pianist and musicologist at the Brussels Conserva-
extent that the trumpet was. The last two centuries tory, where he came into contact with the influen-
of development have completely changed their shape tial musical thinker, brass instrument-maker and
and the way in which they are played. The invention factory-owner Victor-Charles Mahillon (1842-1924).
of valves created fully chromatic instruments that Mahillon had been collecting, studying the acoustics
could be as little as a quarter of the length of their of instruments and even copying old instruments
Baroque equivalents. Mouthpieces became signifi- for many years.1 He was the first conservator of the
cantly smaller. Not only did the trumpet's shape and Brussels instrument museum, and created the clas-
function change radically but the techniques specific sification system adopted by Curt Sachs and Erich
to Baroque trumpet playing became outmoded and von Hornbostel;2 he reproduced and experimented
forgotten. Given these changes, any revival of the with many obsolete instruments, and had a particu-
Baroque instrument was going to be extremely dif- lar interest in natural trumpets.
ficult. My purpose here is to document the major The renewal of interest in early music in Germany
features of this revival. was perhaps more academic, with intellectuals such
A renewed interest in the history of all the arts, as Philipp Spitta (1841-94) laying down new standards
including music, may be observed in the newly of scholarship, examining primary musicological
industrialized nations of northern Europe from the sources, producing a biography of Bach,3 helping to
middle of the 19th century onwards. In Britain, for found the first Bachverein in Goettingen University
example, the Arts and Crafts Movement of the 1880s and establishing the first journal of musicology.4
emerged as a reaction to the social upheaval and Germany also had some practical experimenters
environmental degradation caused by industriali- such as Hermann Ludwig Eichborn (1847-1918),
zation and the disproportionate opulence it created who wrote very knowledgeably indeed about the his-
for a minority. Men such as John Ruskin (1819-1900) tory of the trumpet,5 and as a player experimented
and William Morris (1834-96) championed the with old instruments, reflecting a growing interest in
return to Gothic architecture, to medieval design historical music practice. Whether his extensive the-
and simplicity, to craftsmanship and community. oretical knowledge resulted in any kind of perform-
It is well known that the French-born Arnoldances on natural trumpets, I am unable to establish
Dolmetsch (1858-1940) was befriended and encour-
with certainty.
aged both by Morris and the writer and music criticIt is difficult now for us to imagine the suspi-
cion and contempt in the early decades of the
George Bernard Shaw (1856-1950) shortly after his
arrival in London in 1883. Dolmetsch had received
20th century from those within the musical estab-
lishment towards practitioners who were trying
an initial training as a craftsman in his father's piano
and harmonium factory in Le Mans. He subse-
to escape the confines of the canon of Romantic
literature and interpretation. Viola da gamba
quently became a leader in the revival of early music

Early Music, Vol. xxxvm, No. 2 © The Author 2010. Published by Oxford University Press. All rights reserved. 1Q
doi:10.1093/em/caq026, available online at www.em.oxfordjournals.org

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consorts, with their appeal to amateurs, might not modern instrumental tradition. The problems of the
be perceived as a direct threat to the status quo, but overtone series (ex.i) are easily appreciated: the 11th
performers like Wanda Landowska received relent- overtone is approximately a quarter of a tone sharp,
less criticism merely for appearing in public with a mid-way between an F and an F# in a scale of C; the
harpsichord. The social upheaval of the First World 13th overtone is about a quarter of a tone flat, and
War, the disastrous economic consequences in the the 7th and 14th overtones are also very low. Experi-
decade afterwards and the decline into nationalism ments were carried out in Austria in 1943 in order to
and eventually the Second World War were hardly rectify the acoustic shortcomings of the overtone
conditions in which experimentation outside the system by resorting to a vent-hole system. Attempts
canon were likely to flourish. Nonetheless peo- continued in the 1960s by the instrument-maker
ple like Henri Casadesus and Landowska in France, and trumpeter Helmut Finke (1923-), spurred on
Christian Döbereiner and August Wenzinger in by his colleague Walter Holy (1921-2006), with
Germany, later with the support of Paul Sacher in the help of Otto Steinkopf (1904-80), an influential
Switzerland, Arnold Dolmetsch and his followers woodwind-builder, and the research facilities of
and his supporters like Canon Galpin and Adam the Bundes Physikalisches Anstalt in Braunschweig.
Carse in England, inspired enough young musicians The result was a circular-wound Jägertrompete only
that in the generation shortly after the Second World superficially reminiscent of the instrument portrayed
War new ensembles began to appear: Paul Steinitz's in Haussman's famous painting now hanging in
London Bach Society in 1946, Pro Musica Antiqua Leipzig town hall of Gottfried Reiche, who was the
in 1952 in New York, Concentus Musicus Wien in senior Stadpfeiffer when Bach came to Leipzig in
1953, Capella Coloniensis in 1954, Musica Reservata 1723 (illus.i). This reconstruction (illus.2) sported
in i960 in London and Collegium Aureum in 1962 in three vent-holes to enable the player to play the
Freiburg were amongst the most influential. problematic 11th and 13th overtones in tune. It
The revival of the Baroque trumpet along quasi- looked and sounded somewhat like a piccolo trum-
historical lines started in Germany, Baroque trum- pet; the mouthpiece was similar if not identical to
pets being made in Dresden from the 1930s. Reports the modern piccolo trumpet mouthpiece, and the
of actual performances often record unsuccess- bell was very narrow, familiar to the performers of
ful attempts, ending in the use of alternatives such that generation who were used to playing the pic-
as clarinets or modern valve trumpets in order to colo trumpet. It could therefore be said that this
get through the performance. I have been unable allowed some great Bach cantatas to be heard for
to find any early recordings using natural trumpets the first time in what was then thought of as an
in orchestras before the Second World War. In historically convincing style of performance. It was
the development of the early music movement, by no means easy to perform such pieces on these
the trumpet proved a more difficult instrument instruments, indeed it could be said that these
pioneers risked their professional reputations to
to restore to its position in the Baroque orchestra,
perform on them.
quite simply because it had further to go. Inevita-
bly, the reconstruction of Baroque trumpet-playing In the late 1960s the Bavarian instrument-
makers Meinl und Lauber, with the help of the
techniques reflected the 20th-century Zeitgeist, uniting
the science of acoustics with ideas derived from the American-born trumpeter and musicologist Edward

Ex.i The intervals of the harmonic series

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

I94 EARLY MUSIC MAY 2010

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i Gottfried Reiche, oil on canvas by Elias Gottlob Haussmann, 1727 (Stadtgeschichtliches Museum Leipzig, photo: Joachim Petri)

EARLY MUSIC MAY 2010 I95

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 there to this day. As a model, it has the advantage
of being fairly easy to transport and easy to play
for those with very small hands. All the present-
day makers use seamless tubing, and many mod-
els have a problem with octaves that are stretched
due to the inbuilt loop which renders them out of
tune in the classical repertory.
My main objection to this style of trumpet is
not so much the instrument itself, since when
2 Jägertrompet with three vent-holes
played with a large mouthpiece in Baroque style it
sounds convincing, and the question of the stretched
Tarr (1936-), developed an historically accurate octaves is relatively unimportant. The problem is
long-model trumpet based on the Nuremberg that almost no one ever plays these instruments
instruments of the 18th century (illus.3). This with the authentic type of Baroque trumpet
marked a departure from the coiled trumpets. mouthpiece that is found in museums or that is
Some were made with a vent-hole on the back seen consistently in the iconography of the period.
bow which enabled the player to produce the 11thIf a small modern mouthpiece is used, it follows
and 13th overtones in tune without recourse thatto the instrument is going to sound much like a
the Baroque technique originally used. The 8th, modern trumpet. The mouthpiece is the generator
of the sound, and the instrument is the amplifier of
12th and 16th overtones could also be played with
that sound.
more security. The long model was fairly quickly
superseded by a 'short' model (illus.4). In retro-In England in the early 1970s Michael Laird
spect, this was an unfortunate development in began to experiment with the long trumpet using
a four-hole system (illus.5). Laird went to Cologne
that it effectively changed the shape of the instru-
to study with Walter Holy, a leading German
ment into something that had never existed in the
Baroque period, marking a departure from the player in the 1960s, and he noticed that the original
historical form that was driven perhaps by eco-
shape of the Baroque trumpet could be maintained
by placing a series of vent-holes in the middle of
nomic necessity. I can think of no other instru-
ment whose shape has been so substantially the second yard of the instrument. After some
changed or where such a step would even years
be of experimentation, this became the
accepted model for Baroque performances in
viewed as acceptable. This short trumpet became
the standard German model and it predominatesBritain, with several makers providing inexpensive

3 Long model with one vent-hole (Meinl und Lauber catalogue, 1975)

196 EARLY MUSIC MAY 2010

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4 Short German system with three vent-holes, made by Graham Nicholson 2003 based on J. L. Ehebell 1746

trumpets using mainly seamless machine-drawn
tubing and modern mouthpieces. Rather unsur-
prisingly, even though they are acoustically reli-
able, when used with modern mouthpieces they
can sound quite close to modern trumpets. The
sound of the instrument is generally regarded as
being superior to the German model mentioned
above. It retains the authentic shape of the 18th-
century trumpet, and the use of an alterna-
tive second yard without any vent-holes gives it
an advantage over the German model in that it
can be easily converted back into a true natural
trumpet.
In the large-scale performances that took place
between the 1960s and the 1990s, a plethora of small
infelicities on a bassoon or a violin might have
occurred without drawing attention, but even the
least attentive listener hears when a brass player
makes a mistake. With the advent of the compact
disc, the listener was replaced by the consumer,
largely oblivious to the fact the most of the records
he or she hears are made up of hundreds, sometimes
even thousands of sequences stiched together with
all the mistakes edited out. For the unsuspecting
public, this forgery of reality became the benchmark
by which live music came to be judged and as a con-
sequence of which musicians created techniques
to reduce the risk. The vent-hole trumpet that was
developed in this cultural context represents the
cultural norm of its time. Beta-blockers, banned in
sport but apparently not on the concert platform,
represent another aspect of the same aversion to
risk. Market forces tended to prevail inevitably on
the side of caution, reducing risk and producing

EARLY MUSIC MAY 2010 I97

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 5 English long model with four vent-holes (courtesy of Frank Thomes, London)

the quickest marketable result; this was the era of
Deutsche Gramophone, Telefunken and Harmonia
Mundi. The 'new' Baroque trumpet reflected the
socio-economic values of the epoch.
Very few trumpeters were lucky enough to have the
combination of economic independence, stubborn
moral persistence and historical overview to resist the
tide of 'progress'. As musicological study and icono-
graphical knowledge concerning the trumpet grew in
the 1980s, the gulf between the modern-day approach
and the historical practice seemed to widen. Almost
alone, like a prophet in the wilderness, stood Don
Smithers, the American trumpeter and scholar, berat-
ing his colleagues for their deviant practices.
Early music, emerging as a reactionary movement
in the 1960s in opposition to the established canon of
Classical music, experienced enormous growth and
popularity in the 1970s and 1980s. However, its very
appeal and success made it a target for the forces of
marketing so that it became increasingly incorpo-
rated into the recording industry and the festival
circuit. Thus the distinction between the canon and
its assailants started to become blurred. Orchestral
managers started to appear. The novelty and fresh-
ness of a 'craftsmanship of risk' under Leonhardt
and Harnoncourt in the 1970s evolved into a more
professional, if at times somewhat slick movement
in the 1980s and 1990s, risk being supplanted by
professionalism, jigs and widgets, gadgetry and
'know-how'. Hardly anyone would now bat an eye-
lid at vent-holes since this was part of the accepted
way of doing things, now part of the canon, part of
the professionalism necessary to get the job done -
the job being ideally to reproduce the CD in a con-
cert setting. Even if the trumpet was by no means the
only instrument in the orchestra to be making his-
torical compromises, it was making the largest one.
With the satiation of the CD market in the 1990s
and the downsizing of ensembles, partly as a result
of musicological research and partly economic con-
straint, a new phase began, one in which the estab-
lished core values of the then Baroque trumpet were
finally challenged. One of the problems confronting
those using vent-hole trumpets, modern mouthpieces

198 EARLY MUSIC MAY 2010

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and extolling what in some quarters could only be A distinction is always made between concert-
described as a 'nail it' attitude, was that they were playing and military trumpet techniques. Even as early
often criticized by their colleagues for being too as 1620, Caspar Hentzschel distinguished between
loud. Exactly this, however, was often encouraged the schooled and experienced trumpeter using his
by certain conductors, who loved the big orches- discretion and warns against the self-taught dishon-
tral sound, the lush accompaniment to their baton ourable dabbler bringing the whole guild into dis-
waving, the continuation of the Romantic tradi- repute by playing badly.11 Altenburg mentions that
tion, the allure of the 'maestro' basking in public clarino players were allowed special dispensation
approbation . . . all, of course, totally out of place in in certain establishments not to have to play mili-
Baroque music. The record industry enhanced and tary signals and fanfares for fear of disrupting their
encouraged the cult of personality as a marketing fine and subtle embouchures.12 Yet the distinction
tool. Choirs were often huge and musicians were as between, on the one hand, outdoor techniques used
often as not employed by the choirs. It seemed to be primarily for giving signals, and concert-style trum-
acceptable that one could not hear the bassoons or pet playing on the other, is obfuscated by many
oboes, sometimes not even the violins in the large vent-hole players for the following reasons: the
choral passages in concert. Sound engineers would smaller style of mouthpiece tends to produce a much
arrange the microphones so that all the instruments less resonant and noble tone in the bottom register
could be heard on important recordings. and a much brighter sound in the upper register that
The trumpet is often described in 18th-century is not in proportion with the other instruments of
sources as possessing a nobility of sound and a the Baroque orchestra. Having halved the length of
commanding tone in the lower so-called 'princi- the wave and thus halved the risk, the psychological
pale' register. Johann Ernst Altenberg,6 the prin- effect on the player is to play more boldly than he
cipal source about 18th-century trumpet playing, would otherwise be capable of with the instrument
informs us that a clarino player must attempt to at its original sounding length. This then leads to a
imitate the cantabile of other instruments as far style of playing which is mimicking Baroque per-
as possible. John Shore, Purcell's trumpeter, wasformance at best and, at worst, brashly drowning
praised by Sir John Hawkins,7 who said that 'his out the other instruments. Even this might not be so
great ingenuity and application had extended the disturbing with very large forces, but as instrumen-
power ofthat noble instrument too little esteemedtal forces begin to reduce to three, two and even one
at this day, beyond the reach of imagination, for player to a part, the trumpeter using a mouthpiece of
he produced from it a tone as sweet as that of a18th-century design has the advantage that the sound
hautboy'. In spite of the fact that he was no longerblends naturally with the other instruments, a phe-
able to play as he grew older, The Gentleman'snomenon not lost on our orchestral colleagues.
Journal reports that Shore had taught other trum- Some confusion has been created by misreading
peters 'to sound with all the softness imaginable'.8Altenburg, who mentions, whilst discussing the sub-
This admiration was by no means exclusive to ject of the trumpet concerto, the recent discovery of
British trumpeters, for it was common all overbeing able to create notes on the horn that are not in
Europe throughout the Baroque period. In Salz- the natural overtone series (he might well be refer-
burg in 1757, Koestler was said by Leopold Mozart ring to Hampel's developments on hand-stopping
to have a most refined and agreeable singingin the third octave of the horn from around the
tone.9 Gerber reports that Johann Heinrich Cario,1740s). He mentions a trumpeter called Schwanitz in
the town hall and tower trumpeter of St Kath-Weimar who, by means of a little retractable leather
erina in Hamburg, who honed his skills under sleeve, could open a hole which produced a' and
Telemann and Carl Philip Emanuel Bach, could,V . He then goes on to say that all that would be
even as a 60-year-old, 'play with the fullness and necessary is to create a hole for d' and/ in order to
roundness of tone, from a fiery, powerful, com- create a whole diatonic scale. Thus it is very clear, as
manding robustness through to the softest flutelikewith Hampel, that they are talking about the third
whisper'.10 octave of the instrument and not the fourth octave,

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the octave of the clarino player. He goes on to say
that he thinks more work should be done on this
and that it would be advantageous to overcome the
natural limitations of the trumpet and to be able to
play in other keys; he is talking here of the harmonic
limitation of the overtone series limiting the player
to only one key.13 In the entire 131 pages of this book,
no hole is alluded to that would enable the player to
raise the 13th harmonic. Apparently the professional
standards of diligent trumpeters and horn players
alike were such as to inspire composers like J. S. Bach
to write challenging music for the instruments with-
out avoiding the difficulties of the overtone system.
In the 1990s it began to become clear that only by
playing on Baroque- and Classical- style mouthpieces
would it be possible to re-create something nearer to
the original sound-conception, and that continuing
to use quasi-modern mouthpieces would produce a
quasi-modern result. Ensembles such La Petite Bande
6 Drawing of a mouthpiece from J. Fro
and Het Orkest van de i8de Eeuw (and certainly
Theoretisch-Praktisch Musiklehre (Bonn, 1
others of which I am not aware) began to perform
Mozart, Haydn and Beethoven on trumpets without
holes at the beginning of the 1990s. Using mouthpieces recording of Bach's B minor Mass
based on Joseph Froehlich's 1811 drawing14 (illus.6) and played without recourse to vent-ho
long German trumpets without recourse to vent-holes, in the 'Quoniam' is played without
it was found that these instruments blended much Madeuf has recently recorded Br
better with the overall sound of the orchestra and certo no.2 with the same group, ha
provided an welcome alternative to the three-holed concert several times in the last coup
German model which was deemed too out-of-tune to The phenomenon of one player
be used in such music. It sounded better, looked right a single instrument that we now ac
and was much more pleasurable to play. was unusual in the 18th century in a
With the encouragement of La Petite Bande exceptional musical establishments i
and Sigiswald Kuijken, experiments were made to Sebastian Bach was asked in a letter f
improve the range of mouthpieces and trumpets Zeitz dated 25 February 1743 to write
available to the player who was willing to risk playing for each of the Stadtpfeiffer instrume
without holes. A new generation of players, mainly this task was passed on to Johann Go
in France, started to take this challenge seriously. Led Leipzig university music director, wh
by Jean-François Madeuf, they determined to change ers for writing movements for trump
the direction of Baroque trumpet playing away cornett, violin, oboe and horn for t
from the modern vent-hole system to an instrument audition in Zeitz in October 1743. Sc
that 18th-century musicians would have recognized. recounts that on 24 July 1745, Bach w
Throughout the first decade of this century it has council that Carl Friederich Pfaffe ha
been possible to re-create this lost art, not by means tion in the presence of the Stadtpfeif
of artifice and acoustic cunning but by the same to have played well on all the Stadtpfei
hard work and desire for truth, the same tenacity namely the violin, oboe, traverse flu
and spirit of experiment that created the instrument and the normal bass instruments, ga
and its musical repertory in the first place. In 2008 La of all those present and wishing to pr
Petite Bande made the first commercially available candidate for the vacancy.17

200 EARLY MUSIC MAY 2010

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 The majority of horn players playing Baroque
music nowadays play on Classical horns and use
Classical horn technique for want of an appropri-
ate Baroque alternative. Interestingly, the same
clarino technique described above for the trumpet
is immediately transferable to the horn, permitting
the horn to be held and played as one sees in the
iconography of the period, without the hand
in the bell or recourse to hand-stopping. It is
highly likely that the early 18th-century horn
repertory was initially developed by musicians
who played trumpet: who else would have pos-
sessed the trained embouchures, the necessary
physical stamina or musical skills? Late 17th- and
early 18th-century horn parts are often very high,
sometimes even out of the comfort range of the
modern horn player. In an effort to confront this
anomaly, the same players trying to change the
course of trumpet playing have taken on the chal-
lenge of the Baroque horn.
Johann Heinrich Eichentopf (1678-1769) was a
well-known and influential member of the Leipzig
music fraternity, his name appearing on the baptis-
mal register as godfather to children of some Leipzig
Stadpfeiffer. His output was quite unparalleled: he
built the whole family of both brass and woodwind
instruments. Experiments started in 2005 to rede-
velop Eichentopfs horns because of his proximity to
Bach, and later also those of the renowned Viennese
horn-maker Michael Leichnamschneider (1676-1748)
on discovering that he had moved to Leipzig in
1739, residing there till his death in 1748. The
horns are already being successfully used in concert
without recourse to hand-stopping; I await with
enthusiasm the reaction of the musical community
to this development.

7 Trumpet by William Bull, c.1700, Ashmolean Museum, Oxford (photo: G. Nicholson, 2006)

EARLY MUSIC MAY 2010 201

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 Historically accurate models of English trum-
pets are being redeveloped for the first time using
the repousse techniques that made William Bull's
instruments some of the most beautiful to be found
anywhere (illus.7). High-quality research and devel-
opment into the working methods of the Nurem-
berg instrument-makers are being carried forward
by Markus Raquet in Bamberg and his co-workers
in the Germanisches Museum in Nuremberg. There
remains much to do, and many challenges remain,
but it is very encouraging, after such a struggle, that
the technique that unites the Baroque trumpet and
the horn is finally coming into its own. This is not
to say that the vent-hole system must of necessity
disappear - it won't, but its further development is
not my concern here. Nor am I denying the impor-
tance of hand-stopping as part of the development
of mid- to late 18th-century horn technique, but for
those with the talent, time and dedication, there is
an alternative path that is considerably closer to the
values that initially inspired musicians, trumpet- and
horn-makers alike to experiment with these instru-
ments, which in turn inspired many great compos-
ers to write for them and in doing so to enrich the
orchestral soundscape that we are fortunate to have
inherited. Johann Philipp Kirnberger quotes Bach
as saying 'es muss alles moeglich zu machen seyn' -
that everything is possible. This, said Kirnberger,
spurred me on to accomplish many difficult things
in music, by dint of effort and patience.18

After a postgraduate degree in musicology at King's College London, Graham Nicholson studied Baroque
trumpet with Edward Tarr at the Schola Cantorum in Basel He has researched intensively the lost art of
clarino playing, and the making of natural trumpets with the quality of craftsmanship available to the
18th-century musician, graham.nicholson@inter.nl.net

1 Victor-Charles Mahillon, Elements 11 Caspar Hentschel, Oratorischer

d'acoustique musicale et instrumentale
(Brussels, 1874).
2 C. Sachs, Real-Lexikon der
Musikinstrumente (Berlin, 1913).
3 Philipp Spitta, Johann Sebastian
Bach (Leipzig, 1873-80).
4 Philipp Spitta (ed.), Vierteljahrsschrift
für Musikwissenschaft (Göttingen,
1885-94).
5 Hermann Ludwig Eichborn, Die
Trompete in alter und neuer Zeit
Hall und Schall (Berlin, 1620), nv-r.
12 Altenberg, Versuch, p.28.
13 Altenberg, Versuch, pp.111-12.
14 Joseph Froehlich, Vollständige
Theoretisch-Praktisch Musiklehre
(Bonn, 1811).
%eni StotBoom
15 Challenge Classics CC72316. Maker of historical
16 Bach-Dokumente (Leipzig, 1969), i, bowed instruments
p.407, no.516.
17 A. Schering, Musikgeschichte
Leipzigs (Leipzig, 1941), iii, p.152.
¿f

(Leipzig, 1881). s

18 Bach-Dokumente (Leipzig, 1972),

6 Johann Ernst Altenberg, Versuch
iii, no.848.
eine Einleitung zur heroisch-
musikalischen Trompeten und Pauken
(Halle, 1795 [but ready to print in
1767])» P-96.
7 John Hawkins, A General History Advertisers!
of the Science and Practice of Music
(London, 1776), iv, p.502. Contact Renaissance and baroque viols
8 The Gentlemans Journal (5 Violone
January 1691). Jane Beeson Cello, baroque and classical
9 Reported in A. Baines, Brass Double bass
on
Instruments (London, 1976), p. 136.
Odijkerweg 4
10 Ernst Ludwig Gerber, +44 (o) 1652 678230 3709 JH Zeist - NL
Neues historisch-biographisches or at reneslotboom@planet.nl
Lexicon (Leipzig, 1812-14), i, em.adverts@btopenworld.com www.reneslotboom.nl
pp.642-3.

202 EARLY MUSIC MAY 2010

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