THE ROMANTIC TRUMPET - Historic Brass Society

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199. This work was recently discovered by Chris Larkin and recorded by the London Gabrieli Brass
Ensemble; see note 194. Larkin referred to cornets in high 0 in the first draft of his article, but this
is not possible; see note 203.
200. See Larkin, "Nonetto."
201. Theme varie pour trompette a pistons, avec accompagnement du piano-forte, pp. 34-39.
202. Mithode elementaire pour le cornet a pistons... par Georges Kastner (Paris, s. d., but stamped 1844
in the copy deposited in the Bibl iotheque National, Vm 8 .L.4.; accordi ng to Anzenberger, "Uberblick,"
2: 420, other datings-1840 or even 1838--could also be correct; but in my experience the rubber
stamp on the books and musical scores deposited by law in the National Library generally shows the
same date as that of publication, or—see Dauverne's Methode of 1856-57—a mere year earlier), pp.
52-69.
203. Jean-Baptiste Laurent Arban, Grande Methode (Paris, 1864), p. 1, a remark which has been
removed from some recent editions. Here his original text: "En 1848, je me fis entendre a une seance
de la Societe des Concerts du Conservatoire, oil je jouai[s] le fameux air de flute compose par Boehm
sur un theme suisse, et dans lequel sont, comme on sait, entassees a plaisir les plus inextricables
difficultes; a partir de ce jour, je puis dire que le cornet 'a pistons prit place a dice des instruments
classiques. C'est clans ce morceau que je fis entendre le coup de langue de flute en stacatto [sic] binaire,
ainsi que le stacatto ternaire, dont je suis le premier a avoir fait ('application au cornet a pistons."
(Translation: "In 1848, I performed in a concert of the Concert Society of the Conservatory, playing
the famous air for flute composed by Boehm on a Swiss theme and throughout which, as is wellknown,
the most inextricable difficulties are strewn at will; from that day on, I can say that the cornet
took its place beside the "classic" [solo] instruments. It is in this piece which I performed the
tonguings, [idiomatic] to the flute, in double staccato, as well as triple staccato, of which I am the first
to have applied it to the cornet.")
Anzenberger, "Uberblick," p. 297, points out that Arban must have learned triple tonguing from
his teacher Dauverne, who devotes an entire section of his Methode pour la trompette to this technique
(here called double coups de langue or in today's common usage merely coups de langue, pp. 75-79, with
a preliminary explanation on p. 40 of the basic articulation: tu tu gu du for a single triplet with
concluding note, tu tu gu du tugu for multiple triplets). However, Dauverne and other trumpeters did
not employ this effect except in military signals, and on only one pitch, whereas Arban went on to
utilize it in rapid melodic passages, generally in the finale of a set of variations, thus setting a pattern
in such pieces for the next century.
Forestier calls in only one place, on pp. 51-52 of his cornet method of 1844 (see note 194), for
the coup de langue dam le son, meaning that the notes involved should be led from one to the next
without separation ("les sons doivent etre conduites de l'un 3 l'autre sans separation"); the piece in
question has only six bars in which eighth-note triplets could conceivably be played in this manner
with triple-tonguing; and on pp. 48-49 he gives a six-line exercise containing sixteenth-note triplets
which also could be performed with triple-tonguing. In neither case, however, are any tonguing
syllables indicated.
With regard to triple-tonguing as a trumpeter's convention in military signals in both Germany
and France during the 19th century, see Friedrich Anzenberger, "Barocke `Zungenschlagmanieren'