THE ROMANTIC TRUMPET - Historic Brass Society

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was a military instrument. 47 The intermediate type, represented by an anonymous Saxon
instrument in F made around 1825, has the standard trumpet shape with a straight
mouthpipe, a tuning slide at the bell end, and a somewhat narrower folding of the tubing. 48
The late type, exemplified by one of the first instruments ever built by Johann Adam II
Heckel (1809-1866, Dresden 1836-37), is also in F; it has both crooks and a tuning slide
(at the bell end), and is built in a narrowly folded form. 49 Other makers of the later-style
invention trumpet were Johann Gottlieb Roth, Sr. and Jr., of Adorf. 5 °
d. The trompette demi-lune is the stopped trumpet par excellence. It also originated from
Woggel's model, according to Heyde. 51 The connecting link is an instrument made in F or
G by Carl Friedrich Eschenbach (1765-1851) of Markneukirchen and dated 1802: like the
Krause instrument mentioned above, it also has a wide folding of the tubing, a tuning slide
in the middle of the instrument, and a curved mouthpipe. 52 French instruments of similar
shape and generally more narrowly folded tubing, usually with a tuning slide placed in the
middle, were made by Halari, 53 Courtois, 54 and others.
e. Circular trumpet. In the foreword to his method, Dauveme notes that a circular
variety of orchestral trumpet was in use in the Paris Opera until the arrival ofvalved trumpets
in 1826. 55 Trumpets coiled in a circular fashion were also used for a time in Spain, with one
Jose de Juan Martinez (after 1800-after 1882) being appointed professor of this kind of
instrument at the Madrid Conservatory in 1830, the year of its foundation. He has left a
method from that year, greatly indebted to Buhl's, showing how this instrument was used. 56
The few stopped notes he calls for are ft, a', b', dr, and f". 57 Martinez' circular instrument
was in four-foot BI', with crooks down to A 6 basso. This instrument and those of its kind,
as Baines has already pointed out, 58 are nothing but natural comets or, as shown above,
natural posthoms.
Methods for stopped trumpet. The two earliest surviving methods for stopped trumpet
both come from France, and are by A. Gobert (1822 or 1823) 59 and David Buhl (1825). 6 °
The latter, the more thorough of the two, mentions half-step stopping from all the partials
of the harmonic series from g tog" and includes, besides exercises for a single trumpet, three
pieces—an Adagio, an Allegretto, and a Priere—for an ensemble of four trumpets in three
different keys, all utilizing hand-stopping. (Buhl's nephew Dauverne, who from his key
position as professor at the Paris Conservatory influenced both players of and composers for
the trumpet during his lifetime, did not treat hand-stopping at all in his Methode of 1856.)
In Germany, hand-stopping on the trumpet is briefly dealt with in Franz Joseph Frohlich's
Systematischer Unterricht (1829). 61
Virtuosos and their literature. The stopped trumpet, when its chromatic possibilities
were used to the full, was primarily a solo instrument. Three well-known German virtuosos
on the stopped trumpet were a certain Zenker (from Sondershausen), Johann Heinrich
Krause, and Karl Bagans (from Berlin). 62 Solo performances by Zenker are recorded from
1818, 1820-21, ca. 1830, and 1833, and his tone in the high register was compared with
that of a flute. 63 Krause was active between 1821 and 1827. His tone in all registers,
intonation, complete technique, and mastery "even of the strange half-steps" produced by