THE ROMANTIC TRUMPET - Historic Brass Society

TARR 243
Stein (1728-1792) ofAugsburg. However, Dahlqvist, Bidrag, 1: 38, has cast the shadow of doubt over
this statement, pointing out that Stein was a maker of keyboard instruments; he also suggests that
Woggel may have learned the technique of hand-stopping in Paris, where it had been practiced on the
horn by masters such as J.J. Rodolphe as early as 1763-64.
31. Dahlqvist, Bidrag, 1: 355, 359.
32. Ibid., p. 359.
33. Dahlqvist reduces all the shapes to two basic ones, a view which we hold to be an oversimplification;
see Bidrag, 1: 36ff.
34. Merri Franquin, "La Trompette et le Cornet", in Albert Lavignac, ed., Encyclopedic de la Musique
et Dictionnaire du Conservatoire, 3 vols. (Paris 1920-31), here vol. 2 (1927), pp. 1606-07: "Les
trompettistes avaient une boite qu'ils placaient devant eux aux pieds du pupitre, et qui contenait une
trompette simple et une trompette a pistons avec tous les tons de rechange qui s'adaptaient
indiffErement 3 chacune des deux trompettes, scion que c'etait l'une ou l'autre qu'ils avaient en main;
c'est-i-dire scion que le passage a jouir 6tait chromatique ou compost seulement d'harmoniques
naturelles simples."
35. III. in Tarr, The Trumpet, p. 162. (The imprints ofthe three valve tips of the missing valved trumpet
can still be seen in the velvet case lining.) Callmar lists only three long natural trumpets of this type
with the tuning slide, but over a dozen without. Heyde, Trompeten, Posaunen, Tuben, p. 113, would
call this instrument the French type of invention trumpet. He has a right to do so, although the
invention trumpet's tuning slide by definition is contained in a separate coil of tubing (see further
below in main text).
36. Leipzig coll., no. 1822-23 (de Wit no. 538-539); see Heyde, Trompeten, Posaunen, Tuben, pp.
120-121 (ill., Tafel 8).
37. Leipzig coll., no 1820-21 (de Wit no. 536-537); see Ibid., pp. 117-120 (ill. Tafel 8). These four
instruments were hardly designed to be played with hand-stopping, however, since this technique was
not called for at that time. Heyde ( Trompeten, Posaunen, Tuben) convincingly shows that their short
form (with the two folds being of equal length) must have had to do with the extremely cramped space
of the musicians' gallery in the particular church in question.
38. Callmar lists several dozen.
39. Baines, Brass Instruments, p. 188 (but he was misinformed as to the pitch ["high 13 6 (with crook
for A 6 ) down to the thrice-looped bass trumpet in...E'"] and the date ["1812-13"]; a study by the
present author is in preparation for Militarth Belgica).
40. Edward H. Tarr, Exhibition brochure, "Die Silbertrompeten von Moskau" (Bad Sackingen,
September-October 1992). The Moscow instruments were brought together from various regimental
collections; others are in other Russian museums. Silver trumpets were instruments given as presents
by the Tsar after decisive victories. See also Valentina M. Zarudko, "Silver Collection" of Musical