THE ROMANTIC TRUMPET - Historic Brass Society

248 HISTORIC BRASS SOCIETY JOURNAL
who probably was the copyist.
89. A modern edition by John Wallace and Trevor Herbert has been published by Faber Music
(London, 1989). It was probably based on a modern score made by the late Robert Minter and dated
22 September 1973, now in the Robert Minter Research Collection at the Open University in Wales,
Cardiff.
90. Felix Mendelssohn-Bartholdy, letter from February 14, 1831 to the clarinetist Heinrich Barmann
(1784-1847) in Munich: "I must still add that the trumpeters play all the time on the accursed keyed
trumpets, which seem to me like a pretty woman with a beard or like a man with breasts—they simply
do not have the chromatic notes, and now it sounds like a trumpet castrato, so dull and unnatural. But
there is one here who plays variations on it!" ("Noch mug ich nachholen, clag die Trompeter
durchgangig auf den verfluchten Klappentrompeten blasen, die mir vorkommen wie eine hubsche
Frau mit einem Bart oder wie ein Mann mit einem Busen—sie hat eben einmal die chromatischen
Tone nicht, und nun klingt's wie ein Trompetenkastrat, so matt und unnaturlich. Es blast aber hier
einer Variationen darauf!")
91. Information kindly supplied to me in letters from 30 Sept. 1971 and 22 Feb. 1972 by Neldo Lodi
(Rome), who also examined scores by Paisiello, Boccherini, Cherubini, Spontini, Rossini, and
Donizetti.
92. Anzenberger, "Oberblick," pp. 450-51, 462-63. An original copy of the Roy tutor, formerly
belonging to the late Prof. Heinz Burum, is in the Bad Sackingen Trumpet Museum. Concerning
the Nemetz methods, see note 7.
93. Dating after Anzenberger, "Oberblick," p. 345. The attribution of the intended instrument can
readily be made on the basis of the cover engraving of a military musician playing a keyed bugle; there
is also a fingering chart for a seven-keyed instrument inside.
94. Ill. in Brass Bulletin 33 (1981): 23. Rev. Bernoulli (1904-1980) amassed the world's largest
collection of brass instruments and drums; it now forms part of the musical instrument collection of
the Basel Historical Museum, where unfortunately the main body of instruments is inaccessible. See
the obituary by Emilie Mende in Brass Bulletin 33 (1981): 22-23. The keyed posthorn mentioned here
is the very first instrument Bernoulli acquired.
95. See Ralph Dudgeon, "19th-Century Keyed Bugle Performers: A Checklist," Historic Brass Society
Journal 4 (1992): 193-205.
96. The foremost specialist on the keyed bugle today is Dudgeon. See his "Keyed Bugle" (diss.); idem,
"Joseph Haliday, Inventor of the Keyed Bugle,"Journal of the American Musical Instrument Society 9
(1983): 53ff; The New Grove Dictionaiy ofMusical Instruments, s.v. "Keyed Bugle," by idem; and idem,
"Keyed Bugle Method Books: Documents of Transition in 19th-Century Brass Instrument Performance
Practice and Aesthetics in England," Historic Brass SocietyJournal2(1990):112- 122. It is from
the first three of these secondary sources that the above information was taken.
97. Dudgeon, "Keyed Bugle" (diss.), p. 51. (He writes "the late 1830s," but of course Wieprecht's