Catholic - Historic Brass Society

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138 HISTORIC BRASS SOCIETY JOURNAL More or less all types of instruments and all the different early valve types can be found with reversed valve order. Almost half of the instruments gathered here have only two valves. More than two-thirds of them were made before 1850 and approximately three-fourths were made before 1860. The only valve type that is present throughout the entire time period is the rotary valve. Bavaria was the main center, for it was here that instruments with the reversed valve order, called “<strong>Catholic</strong>” fingering, were in continuous use in substantial numbers over the entire period from the 1820s through the 1920s, and even beyond. And Bavaria is also where the custom of right-handed and left-handed instruments survived the longest. The origins of the reversed valve order with consecutive half-tone steps may perhaps be traceable—at least for Bavaria—to the keyed bugle. It also may have been influenced by the semitone sequence of trombone slide positions. On the other hand, the better-known valve brass tradition, in which the whole-tone step was positioned first, might have been fostered by the idea that a diatonic step is more important than a semitone step. For three-valveinstruments, placing the shortest valve loop in the middle was apparently considered a constructional advantage. This eventually led to the predominance of the modern fingering, whole tone/semitone/minor third, over the consecutive semitone system. The question as to whether the chromatic valve sequence versus the modern one might have some advantages for the performance of a certain repertoire would require further investigation. However, we suspect that it was more a matter of habit and regional tradition than a clearly demonstrable advantage of one system over the other. While the results of this study may come as no surprise to some readers, the authors have endeavored to engender a greater awareness of the phenomenon of reversed valve order in brass instruments. May this study lead not only to more careful examination of surviving instruments, but also to further research on related repertoire. Acknowledgements We would like to thank the employees of all institutions listed in Table 1, who were extremely helpful in granting access to and providing information about the holdings under their care. We especially want to thank several private collectors, also mentioned in Table 1, for opening their homes to us and providing valuable information. Joe R. Utley (1935-2001) was a cardiologist, holding the M.D. degree from Washington University School of Medicine, St. Louis. He gathered an important collection of high brass instruments, dating from the seventeenth through the twentieth centuries. He and his wife Joella Utley donated this collection to the National Music Museum: America’s Shrine to Music/The University of South Dakota, Vermillion, in 1999. Sabine K. Klaus is the curator of this collection. She received her Ph.D. from Tübingen University, Germany, and worked previously as curatorial assistant in the departments of historical musical instruments at the Germanisches Nationalmuseum in Nuremberg and at the Historisches Museum Basel.
UTLEY & KLAUS 139 APPENDIX TABLE I
Page 1 and 2:
73 The “Catholic” Fingering—F
Page 3 and 4:
UTLEY & KLAUS 75 Figure 3a, b Trump
Page 5 and 6:
UTLEY & KLAUS 77 Figure 5 Soprano s
Page 7 and 8:
UTLEY & KLAUS 79 Figure 7a, b Trump
Page 9 and 10:
UTLEY & KLAUS 81 Figure 9 Tower of
Page 11 and 12:
UTLEY & KLAUS 83 50 45 40 number of
Page 13 and 14:
UTLEY & KLAUS 85 Chart 2b Chronolog
Page 15 and 16: UTLEY & KLAUS 87 Types of instrumen
Page 17 and 18: UTLEY & KLAUS 89 Chart 4a Valve typ
Page 19 and 20: UTLEY & KLAUS 91 Figure 12 Horn wit
Page 21 and 22: UTLEY & KLAUS 93 floral embellishme
Page 23 and 24: UTLEY & KLAUS 95 Figure 15 Valves o
Page 25 and 26: UTLEY & KLAUS 97 1830s. Of twenty-n
Page 27 and 28: UTLEY & KLAUS 99 Among these double
Page 29 and 30: UTLEY & KLAUS 101 used the same con
Page 31 and 32: UTLEY & KLAUS 103 Figure 22 Trumpet
Page 33 and 34: UTLEY & KLAUS 105 and return-spring
Page 35 and 36: UTLEY & KLAUS 107 Finally, there ar
Page 37 and 38: UTLEY & KLAUS 109 While Blühmel’
Page 39 and 40: UTLEY & KLAUS 111 Figure 31a, b Pos
Page 41 and 42: UTLEY & KLAUS 113 in the Stadtmuseu
Page 43 and 44: UTLEY & KLAUS 115 There is one rath
Page 45 and 46: UTLEY & KLAUS 117 Number of valves
Page 47 and 48: UTLEY & KLAUS 119 Chart 6 Chronolog
Page 49 and 50: UTLEY & KLAUS 121 The Barth fluegel
Page 51 and 52: UTLEY & KLAUS 123 handed people and
Page 53 and 54: UTLEY & KLAUS 125 Utley Collection
Page 55 and 56: UTLEY & KLAUS 127 Figure 41 Trumpet
Page 57 and 58: UTLEY & KLAUS 129 Chart 8 Fixed and
Page 59 and 60: UTLEY & KLAUS 131 The Johann Gottfr
Page 61 and 62: UTLEY & KLAUS 133 Figure 44 Bilingu
Page 63 and 64: UTLEY & KLAUS 135 This convolute in
Page 65: UTLEY & KLAUS 137 the reversed valv
Page 69 and 70: UTLEY & KLAUS 141 year instrument t
Page 71 and 72: UTLEY & KLAUS 143 year instrument t
Page 73 and 74: . UTLEY & KLAUS 145 year 1855 ca. (
Page 75 and 76: UTLEY & KLAUS 147 instrument type m
Page 77 and 78: UTLEY & KLAUS 149
Page 79 and 80: UTLEY & KLAUS 151 Abbreviations A A
Page 81 and 82: UTLEY & KLAUS 153 Tomes Tübingen U
Page 83 and 84: UTLEY & KLAUS 155 Heyde 1987 Heyde
Page 85 and 86: UTLEY & KLAUS 157 iii: Trumpets and
Page 87 and 88: UTLEY & KLAUS 159 358-59. 7 In this
Page 89 and 90: UTLEY & KLAUS 161 surprising that i
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