Hostname: page-component-586b7cd67f-gb8f7 Total loading time: 0 Render date: 2024-12-03T00:25:55.105Z Has data issue: false hasContentIssue false
  • English
  • Français

The Evolution of Trumpet Music up to Fantini

Published online by Cambridge University Press:  01 January 1974

Anthony Baines
Get access

Extract

It is well known that the sounds of the natural trumpet before the Classical period present themselves to us on two distinct planes of pitch, each associated with a particular musical character and technical requirement, or in a word, style. One style involves the diatonic range supplied by high harmonics of the instrument from the 8th upwards, and was described by German trumpeters as Clarin. This is also the register of the English ‘Trumpet Tune’, and we now tend largely to identify the old natural trumpet with this style, which was produced on the whole fairly softly and with, as Johann Ernst Altenburg wrote, as close an approach as possible to the expressions of other musical instruments. Below this in range, where the trumpet was confined to the sounds of a common chord, falls the register of the Principal and also of the cavalry calls. It was produced in an esoteric trumpet style, robust and with strong emphasis on rapid articulation of single notes with the tongue.

Type
Research Article
Information
Proceedings of the Royal Musical Association , Volume 101 , 1974 , pp. 1 - 9
Copyright
Copyright © 1977 The Royal Musical Association and the Authors

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Versuch einer Anleitung zur heroisch-musikalischen Trumpeter- und Pauker-Kunst, Halle, 1795 (facsimile ed. Dresden, 1911), p. 96.Google Scholar

2 The works of both (Copenhagen, Royal Library, MSS 1874, 1875) are published as Trompeterfanfaren Sonaten und Feldstücke, ed. Georg Schünemann (Das Erbe deutscher Musik, Ser. I Bd. 4), Kassel, 1936. See also Schünemann, ‘Sonaten und Feldstücke der Hoftrompeter’, Zeitschnft für Musikwissenschaft, xvii (1935), 147–70.Google Scholar

3 Tutta l'arte della trombetta (Verona, Biblioteca dell'Accademia Filarmonica, Mus. 238), facsimile ed. Edward H. Tarr (Documenta musicologica, ii/5), Kassel, 1975.Google Scholar

4 See Trumpet and Bugle Calls for the Army, H.M.S.O., 1966.Google Scholar

5 Buhle, E., Die musikalischen Instrumente in den Miniaturen des frühtn Mittelalters, i (Leipzig, 1903), 28; C. Sachs, Handbuch da Musikinstrumentenkunde, Leipzig, 1930, p. 284.Google Scholar

6 Recueil des historiens des Croisades: Historiens occidentaux, Paris, 1844–95, iii. 450, 580.Google Scholar

7 Sadokov, R. L., Tysyacha oskolkov zolotovo Saza, Moscow, 1971, p. 142. Also F. Karomatov, Uzbekskaya Instrumentalnaya Musyka, Tashkent, 1972, pp. 92–94.Google Scholar

8 C. van Borren, ‘La Musique pittoresque dans le ms. 222 C 22 de Strasbourg’, Bericht uber den musikwissenschaftlichen Kongress in Basil 1924, Leipzig, 1925. Also V. S. Ramalingen, Trumpet Music and Trumpet Style in the early Renaissance (unpublished dissertation), University of Illinois, 1965.Google Scholar

9 Schùnemann, while granting the problem of transcribing Thomsen's curious notation, in which lines and spaces indicate harmonics (not notes), observed a consistent interpretation throughout, which, however, brings the cavalry calls' and the toccatas one harmonic higher dian they appear in other sources including Bendinelli. This has been taken into account where Thomsen is cited in this paper.Google Scholar

10 Opera omnia, ed. H. Besseler (Corpus mensurabilis musicae, i), iv (Rome, 1962), 79–80.Google Scholar

11 Gombosi, O., ‘Zur Vorgeschichte der Tokkate’, Acta musicologica, vi (1934), 49–53.CrossRefGoogle Scholar

12 Michael Praetorius, Syntagma musician, Wolfenbuttel, 1619, iii. 172.Google Scholar

13 Vienna, Nationalbibliothek, Cod. 2856; transcribed by A. F. Mayer and H. Rietsch in Acta germanica, iii (Berlin, 1896), 164 ff.Google Scholar

14 Pietzsch, G., ‘Die Beschreibungen deutscher Fürstenhochzeiten … als musikgeschichtliche Quellen’, Anuario musical, xv (1960), 31.Google Scholar

15 See Baines, A., ‘Two Cassel Inventories’, Galpin Society Journal, iv (1951), 30–38.CrossRefGoogle Scholar

16 Eitner, R., ‘Briefe von Jorg Neuschel …’, Monatshefte für Musikgeschichte, ix (1877), 151.Google Scholar

17 Valentin, C., Geschichte da Musik in Frankfurt-am-Main, Frankfurt, 1906.Google Scholar

18 Musica getutscht, Basel, 1511 (facsimile ed. L. Schrade, Kassel, 1931), p. 3.Google Scholar

19 See for example F. W. Galpin, Old English Instruments of Music, London, 1910, p. 203.Google Scholar

20 Byrne, M., ‘Instruments for the Goldsmiths Company’, Galpin Society Journal xxiv (1971), 63–68.CrossRefGoogle Scholar

21 See Schuler, M., ‘Die Musik in Konstanz während des Konzils 1414–1418’, Acta musicologica, xxxviii (1966), 165.CrossRefGoogle Scholar

22 G A. Villoteau, ‘De l'état actuel de l'art en Egypte’, in Description de l'Egypte, Paris, 1823.Google Scholar

23 I am grateful to Dr N. A. Jairazbhuoy for providing this recording.Google Scholar

24 R Wright, Dictionnaire da instruments de musique, London, 1941, p. 177Google Scholar

25 Harmonie universelle, Paris, 1636, iii. 264.Google Scholar