THE ROMANTIC TRUMPET - Historic Brass Society

TARR 255
172. To which we could add Russia, since the first Russian brass instruments were patterned after
Prussian ones—see main text below (section on the "Russian Valve or Stop Trumpet").
173. Ahrens, Erfindung p. 107.
174. Heinrich Gottwald, "Ober das Horn": "With military bands, where the stopped tones of the
natural horn would almost [completely] disappear in the mass of the other instruments and in the open
air, the valved horn will be used to the greatest advantage." (Original text: "Bei Militarmusiken, wo
die gestopften Tone des Naturhornes in der Masse anderer Instrumente und im Freien beinahe
verschwinden warden, wird...das Ventilhorn mit dem paten Vortheil verwendet.") From Neue
Zeitschrift fiir Musik 1 (1851): 138, cited in Ahrens, Erfindung, p. 24.
175. Ahrens, Erfindung pp. 8-9.
176. See Hermann Pietzsch, Die Trompete als Orchester-Instrument und ihre Behandlung in den
verschiedenen Epochen der Musik (Heilbronn, 1900); Bate, Trumpet and Trombone; Hans Zorn, "Die
Trompete in der deutschen Orchestermusik von ca. 1750 bis ins 20. Jahrhundert" (PhD diss.,
University of Innsbruck, 1972); Baines, Brass Instruments; Tarr, Trumpet; Richard Birkemeier, "The
Orchestral Trumpet of the 19th Century: An Historical and Acoustical Survey" (DM diss.,
Northwestern University, 1984); idem, "The History and Music of the Orchestral Trumpet of the
Nineteenth Century", Journal of the International Trumpet Guild 9 (February 1985): 22-39, and 9
(May 1985): 13-27; and Dahlqvist, Bidrag. Charles IL Gates, "A Selective Annotated Bibliography
of Articles Published in English Concerning History, Development, and Use of Soprano Brass
Instruments in the Nineteenth Century", Journal of the International Trumpet Guild 10 (December
1986):30-33, is also useful.
177. See above, under "tubul ar valve"; see also note 140. In a letter to Georges Kastner of 6 April 1840,
Spontini mentions his shipments of instruments: "I sent from Berlin to Paris, between 1823 and 1831,
a number of valved horns, trumpets or cornets with two or three valves (the first known in Paris),
notably to M. Barrillon, to the horn professor M. Dauprat, and to the head of the Guards band M.
David Buhl, and it was after these samples that several manufacturers of Paris thought to have invented
or perfected, even though they didn't do anything but copy and imitate." (From Kastner, Manuel
general de musique militaire [Paris, 1848], p.192, note) (original text: "J'envoyai de Berlin a Paris, de
1823 31831, nombre de cors a pistons, de trompettes ou cornets a deux ou trois pistons ou ventiles
[sic](les premiers connus a Paris), notamment 3 M. Barrillon, au professeur de cor M. Dauprat, et au
chef de musique des gardes, M. David Buhl, et c'est d'apres ces exemplaires que quelques fabricants
de Paris ont cru avoir invent6 ou perfectionn6, tandis qu'ils n'ont qu'imite et copie") (also cited in
Ahrens, Erfindung, p. 40).
178. After an unsuccessful attempt by Labbaye; see Heyde, Venal. lasinstrument, p. 76, quoting a
review by Fetis of the first performance of Chelard's Macbeth on 29 June 1827, with the three
trumpeters Dauvern6, Legros, and Bernard playing on instruments by Labbaye.
179. These are: Thlorie ou tabulature de la trompette a pistons (Paris, ca. 1827-28), showing a trumpet
with three tubular valves, the third being an ascending valve (four half-steps in E 6 , three half-steps in
low C), surviving in Paris, Bibliotheque Nationale, Vm. 8 L.99; Methode de trompette a pistons (Paris