ESSAY 6 - THE F TRUMPET AS A MODERN ORCHESTRAL INSTRUMENT?

By Dr. Richard Birkemeier

            The orchestral music of the Romantic era is still very popular today so it is extremely important that performers and conductors be as knowledgeable as possible concerning the instruments for which the music was originally intended.  This is a real problem in the case of the trumpet because of substantive changes in tastes and instrument design during the past two hundred years.  The change in trumpet style and sound has been so pervasive that the nineteenth century instrument in low F pitch, the last “real” trumpet,[1] has been almost completely lost.  Only a few museum specimens remain to remind us of their importance to an era gone by.

            But it was the F trumpet that dominated orchestras in Europe through the Romantic era, providing composers, conductors and audiences with the characteristic timbre of the true trumpet.  As the previous essays reveal, the F trumpet was the culmination of the development of the historical trumpet; the long, straight, cylindrical bore instrument of the classical period.  This instrument must not be confused with the French military band cornet of the late eighteenth century which was a higher-pitched, conical bored instrument more in the configuration of the bugle.  Both the trumpet and the cornet received valves during the 1820s, but the orchestral trumpet remained in low pitch, most often the key of F, and retained the long, straight cylindrical bore characteristic of the natural instrument.  The cornet-a-piston, as it was called, also retained its characteristic higher pitch, most often B-flat, and bugle-like conical bore configuration.

            Despite its importance, by the end of the century the F trumpet had fallen from favor for a number of reasons, most importantly, its competition with the cornet and high-pitched trumpets.  The question then arises as to the reason for the decline in the use of the F trumpet and its subsequent replacement by the higher-pitched modern instruments.  Many writers stated that these new instruments offered a greater degree of security in the upper register and there is some validity to this observation, however the performance testing described in Essay 5 of this study has made it clear that the F trumpet is quite playable in the upper register.  There is no argument that the harmonics are closer together in the upper register of the F trumpet compared to the B-flat or C trumpet.  However competent players can learn to master this difficulty.  Hornists have been faced with exactly the same problem and have learned to deal with it quite successfully.  So, what was the real reason for the decline in the F trumpet?

            It seems most likely that the rapidly increasing popularity of the wind band in Europe and the United States thrust the cornet into the spotlight during the middle nineteenth century.  Bands played popular entertainment and dance music and provided most of the employment for the brass instrument players of the period.  The cornet was the solo voice of the wind band and became extremely popular with the public at large.  The successes of cornet soloists like Arban, Levy and Clarke, who were international superstars in the entertainment industry, also supports this hypothesis.  It seems most likely that the great popularity of the cornet influenced orchestral trumpeters (most of whom were also band musicians) to find and play trumpets built in the same register.  It should also be noted that recent research by Sabine Klaus and Ed Tarr has revealed the extensive use of high-pitched B-flat trumpets in wind bands in Germany and Austria much earlier in the nineteenth century than had been thought.  It seems reasonable to assume that these musicians brought these instruments with them into the orchestras of the time.  Whatever the cause, the use of high-pitched trumpets in orchestras spread quickly, developing a momentum that was so great that when the English finally replaced the slide trumpet with the F valved trumpet late in the nineteenth century, the last “real” trumpet survived only some twenty-five years before being replaced permanently by the B-flat trumpet.[2]

            The use of high-pitched trumpets in orchestras when low pitched ones were called for received very little resistance. Though critics sometimes complained, there is little evidence that this practice resulted in any significant conflict with conductors or audiences of the period.  And certain composers promoted this practice by scoring their music in such a manner that no trumpeter could possibly have employed the instruments or crooks as scored.  Wagner and Mahler were particularly notorious in this regard.  And the result was a shift in musical tastes away from the traditional trumpet sound and toward that of the cornet and the high-pitched trumpets in orchestras throughout Europe.  The only country that continued to employ F trumpets into the twentieth century was England, where it’s very limited use is documented as late as 1950.[3]

            Regardless of the instruments trumpeters were actually playing, most composers continued to express a clear preference for the crooked F trumpet in their scores, right up until the end of the century.  Only Tchaikovsky’s latest works, after 1890, and those of Rimsky-Korsakov were consistently written for the high-pitched trumpets before the turn of the twentieth century.  The fact that many composers heard B-flat trumpets employed when F trumpets were called for should in no way be interpreted as an indication that they approved.  The acoustical section (Essay 5) of this study has established that clear differences in timbre exist between F trumpets and high B-flat and C trumpets and composers who have earned the respect of a century of audiences must be given the benefit of the doubt as to their ability to have heard these timbral differences and scored accordingly.  These thoughts have ultimately lead me to the conclusion that the authentic performance of nineteenth century orchestral music must include trumpets whose timbre matches those originally called for.

Answers to Introduction Questions

            Three questions were presented in the Introduction to this series of essays for which answers were to be provided.  These questions were as follows:

1)  Why are there constant transpositional changes required by such composers are Wagner, Strauss, and Mahler?

2)  Should modern cornets be played on parts originally intended for the cornet-a-piston?

3)  What are the implications of playing F trumpet parts on modern B-flat and C trumpets?

4)  Should actual F trumpets be used today to perform the music from this era and if so, where can they be located?

Answers to these questions may be found within the text of the previous essays; however, an attempt will be made to summarize them here.

1)The transpositions referred to in the orchestral music of Wagner and Strauss are the result of both composers’ penchant for employing the system of crooking in their trumpet scoring. The reader will recall that crooks were originally applied to the natural trumpet to make it able to play in more keys. So the real question is why Wagner and Strauss felt obliged to continue to employ a system that was made obsolete by the invention of valves. Yes, valved F trumpets were built with crooks right up to the end of the nineteenth century, and these seem to have been intended to be used in performance, maybe for the change in timbre.(See Figure 1) But that doesn’t seem to have been the case with Wagner’s or Strauss’ music. The answer might lie in the influential treatise on orchestration by Hector Berlioz. Wagner and Strauss were intimately familiar with that text and respected it greatly and it appears that they employed the system of crooks simply because Berlioz recommended it. Wagner and Strauss were well aware that valved trumpets were being employed in their orchestras and that trumpeters were transposing instead of changing crooks, but perhaps they chose to honor the memory of Berlioz and his great contribution to the art of orchestration by continuing the practice anyway, long after the need had vanished.

However, the trumpet key changes in Mahler’s symphonies may have been prompted by musical motives.  Mahler scored his symphonies only for F trumpets and high B-flat trumpets, evidently intending that the two different instruments be employed rather than crooking the F trumpet down to low B-flat pitch.  It is difficult to determine why Mahler scored certain music for one instrument or the other, but it seems plausible that timbre was the reason.  We are forced to await a performance of a Mahler symphony in which the trumpeters use both F trumpets and B-flat trumpets to make a final determination.

2)   The question regarding the modern use of cornets in orchestral music has a couple of possible answers.  Berlioz seemed to have disliked the tone quality of the cornet and performers are well-advised to employ trumpets on his cornet parts today.  Other composers such as Franck, Tchaikovsky, and Verdi had valved trumpets at their disposal, yet chose to score for cornets on occasion.  A case can be made for the use of modern cornets to play these parts, however it must be remembered that the modern high-pitched trumpet is much closer in sound to the cornet than the F trumpet or the natural trumpet, so the difference probably won’t be noticed.  Tchaikovsky abandoned the cornet in his orchestral scoring when he began to write for the high-pitched trumpets.  Before that time, he paired cornets with low F trumpets, presumably for the timbral contrast.  When the high-pitched trumpets were employed, that contrast was no longer as obvious and the cornets were abandoned.  Modern B-flat and C piston-valved trumpets are so close in sound to the cornet that one might as well use them instead.

3)   This leads directly to the question concerning the implications for playing high-pitched trumpets on parts originally written for the F trumpet.  If there is one central thesis to this study it is that the low F trumpet is a different instrument than the B-flat or C trumpet, both in design and sound.  As Walter Morrow said, the F trumpet was the last “real” trumpet, by which he meant, the direct descendant of the long natural trumpets of the Baroque and Classical periods.  Today’s high-pitched trumpets are a hybrid with greater similarity to the nineteenth century cornet than the F trumpet.  The timbral differences between these two instruments have been clearly documented and if one is to respect the orchestrational abilities of most of the composers of the nineteenth century, one must realize that modern trumpeters who play this music on high-pitched instruments are not achieving the sounds intended.  This is especially significant for music written after 1850, when both low F trumpets and high B-flat trumpets were in general use.  And this leads us to the most important question:

4)  Should actual F trumpets be used today to perform the music from this era and if so, where can they be located? 

Modern Alternatives to the Old F Trumpet

It is my opinion that the willingness of most nineteenth century musicians to abandon the low F trumpet is one of the great tragedies in the history of the instrument.  Anyone who has taken the opportunity to play an F trumpet or has heard one played will attest to the great beauty and dramatic quality of its sound and Romantic period music played on modern trumpets lacks the authentic timbral quality of the real trumpet tone.  The question then arises as to how a modern trumpeter, interested in the authentic performance of nineteenth century orchestral music, can reproduce the authentic F trumpet sound. 

Of course, the best way to recreate the sound of an F trumpet is to play an actual low-pitched trumpet built in the key of F.  Antique F trumpets can occasionally be found if one looks long and hard, and there are a number of fine specimens in museums and private collections, but modern performers do have acceptable alternatives to employing an original instrument.  Thein Brass of Bremen Germany has begun manufacturing reproduction low F trumpets in both piston and rotary valved configuration.  Josef Dotzauer, another German brass maker, also builds a reproduction F trumpet with rotary valves and sells them through the Antique Sound Workshop, Ltd. of Plymouth, MA.  And Robb Stewart, the California-based and internationally-renowned builder of nineteenth century reproduction brass instruments, has built F trumpets on commission (https://www.robbstewart.com).  He has recently completed an F trumpet modification of a modern Kanstul Meha B-flat trumpet by adding an appropriate lead pipe and extensions for the tuning slide and valve slides.  The instrument can be easily crooked into the keys of E, E-flat, D and low C if desired.  He reports that the instrument plays very well and he might be persuaded to build more on request. (See Figure 2) I have not played any of these instruments personally, but would strongly encourage the professional orchestral trumpeter to do so. 

            An acceptable alternative to an actual F trumpet might also be available by American manufacturers of drum corps bugles.  In 1985, Drum Corps International (DCI) in the United States approved the use of three-valved low G pitched bugles for use in drum and bugle corps.  By the mid 1990s both Dynasty and Kanstul Musical Instruments sold soprano bugles that resemble French G trumpets of the nineteenth century, at least in length of tubing.  (See Figure 3) The author is unaware if any of these instruments have been used in symphony orchestras but it is an interesting idea.[4]

            Another option available to the trumpeter who doesn’t want to buy a modern reproduction F trumpet is to play a modern rotary valved B-flat trumpet.  The F. A. Heckel rotary-valved B-flat trumpet tested for this study revealed a clear similarity in sound to that of the F trumpets tested, both at soft and loud dynamics and in all registers.  And its frequency spectrum analysis graph also revealed distinct similarities, especially in the first four harmonics which have proven to be so distinctive in comparing F trumpets to modern trumpets.  This is not a particularly new idea as many modern conductors have asked their trumpeters to use rotary trumpets in the performance of some music from this era, Bruckner’s in particular.  Rotary valved trumpets can be ordered from many manufacturers including Scherzer of Markneukirchen,  Alexander of Mainz, Monke of Cologne, Kanstul of Anaheim, CA and Yamaha of America.  The Alexander trumpets are patterned after the design developed by F. A. Heckel of Dresden during the late nineteenth century and the Monke design is based on that developed by Schmidt of Weimar. 

Some Final Thoughts

After having completed the revision of this dissertation, I feel more strongly than ever that the authentic performance of orchestral music from the Romantic era must include the use of F trumpets or their reasonable facsimiles.  I hope that trumpeters will explore the ideas presented in this series of essays and decide for themselves how best to respond.  Baroque trumpet specialists have revived the natural trumpet (admittedly, reproductions with vent holes) and now use them almost exclusively for the performance of music from that era.  They have done this because the modern piccolo trumpet, while easier to play, has proven to be a very poor substitute for the timbre of the long natural trumpet and audiences (and conductors) are demanding the more authentic sound of the later.  I feel the same situation now exists for the F trumpet.  Once performers and audiences have had a chance to actually hear this instrument, returned to its proper place in the orchestra, they will no longer accept the sound of the high-pitched B-flat and C trumpets on music from the Romantic era. The rewards of authentic performance are well documented for earlier periods of music and I believe sincerely, that the authentic performance of Romantic period music will offer equal rewards.

[1] Walter Morrow, Julius Kosleck’s School for the Trumpet: revised and adapted to the study of the Trumpet-a-Pistons in F by Walter Morrow, (London: Breitkopf & Härtel, 1907), p. IV.

[2] Richard Birkemeier, “The F Trumpet and Its Last Virtuoso, Walter Morrow,” Brass Bulletin, Edited by Jean-Pierre Mathez, Vol. 65 No. 1, (1989), p. 39.

 [3] Ibid.

[4] Scooter Pirtle, “The evolution of the bugle,”  The Middle Horn Leader, (2010) http://www.middlehornleader.com/Evolution%20of%20the%20Bugle%20--%20Section%204.htm (accessed 4/10/2021).

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 ________.  “A Trumpet Battle at Nimblo’s Pleasure Garden,” Musical Quarterly, Vol. LV July (1969), p. 384.

 Janetsky, Kurt, “Die Trompete:  An Exhibition at the Trumpeter’s Castle in Sackingen,” Brass Bulletin, No. 29 (1980), p. 103.

 Langwill, Lyndesay G.  “Instrument Making in Paris in 1839,” Music and Letters, Vol. XXXIX (1958), p. 135.

 LaPlace, Michael.  “Les Fondateurs de l’école française de trompette Merri Franquin, Eugene Foveau et Raymond Sabarich,” Brass Bulletin, No. 29 (1980), p. 103.

 Laska, Richard.  ‘The Historical Evolution of the Flugelhorn,” The Brass World, Vol. III No. 1 (1967), p. 211.

 Lewis, H. M.  “The Trumpet in Romantic Era,” Instrumentalist, Jan. (1972), p. 26.

 Limmer, Rudolf.  “Blechblasinstrumente aus der Musikstadt Graslitz,” Brass Bulletin, No. 29 (1980), p. 41.

 Marcuse, Sibyl.  “The Instruments of the King’s Library at Versailles,” Galpin Society Journal, Vol. XIV (1961), p. 34.

 Mathews, Betty. “Walter Morrow,” The Royal Society of Musicians of Great Britain List of Members 1738 – 1984.  London: Royal Society of Musicians, (1985), p. 103.

 Mathez, Jean-Pierre.  “Arban (1825-1889),” Brass Bulletin, No. 10 (1975), p. 13.

 Pirtle, Scooter. “The evolution of the bugle,”  The Middle Horn Leader, (2010) http://www.middlehornleader.com/Evolution%20of%20the%20Bugle%20--%20Section%204.htm (accessed 4/10/2021)

 Selianon, Anatoly.  “The Peculiarities of Trumpet Method Development for Trumpet Playing in Russia,” International Trumpet Guild Journal, Vol. VIII No. 1 (1983), p. 41.

 Smith, Douglas J.  “A Short History of the Trumpet,” Instrumentalist, Jan. (1972), p. 20.

 Stewart, Robb. “The History of the Modern Trumpet: or ‘get that #@$%&! Cornet out of my Orchestra’,” https://www.robbstewart.com/history-of-the-modern-trumpet (accessed 3/16/2021).

 Tarr, Edward H. “The Romantic Trumpet,” Part One, The Historic Brass Society Journal, Volume 5 (1993), p. 213.

               . “The Romantic Trumpet,” Part Two, The Historic Brass Society Journal, Volume 6 (1994), p. 110.

 _______. “Walter Morrow,” The New Grove Dictionary of Music and Musicians (6th edition), London: MacMillon & Co. Ltd, 1980, Vol. XXII, p. 592.

 Utley, Jos R. and Sabine K. Klaus. “The “Catholic” Fingering—First Valve Semitone:
Reversed Valve Order in Brass Instruments and Related Valve Constructions,” Historic Brass Society Journal, Vol. 15 (2003), p. 73.

 Wheeler, John.  “Further Notes on the Classic Trumpet,” Galpin Society Journal, Vol. XVIII (1965), p. 14.

Musical Parts and Scores

Beethoven, Ludwig von.  Symphony No. 6 in F Major Op. 68.  London:  Ernst Eulenburg, Ltd., Pub. No. 407.

Mahler, Gustav.  Symphony No. 8.  Wien:  Universal Edition.

Mendelssohn, Felix.  Symphony No. 5 (Reformation).  New York:  Edwin F. Kalmus.

Schumann, Robert.  Symphonies 1, 2, 3, 4.  New York:  Edwin F. Kalmus.

Strauss, Richard.  Orchestral Studies.  New York:  International.

Wagner, Richard.  Orchestral Studies.  Edited by Hoehme, Vol. II, New York:  International.

Unpublished Dissertations

Deming, Howard O.  The Use of the Trumpet in Selected Symphonic Works of the Late Nineteenth and Early Twentieth Centuries.  DM Diss.:  Indiana University, 1969.

Heyde, Herbert.  Die Trompete und Trompeten Blasen in Europe.  Ph.D. Diss.:  Leipzig, 1965.

Hosler, Bellamy Hamilton.  Changing Aesthetic Views of Instrumental Music in 18th Century Germany.  Ph.D. Diss.:  University of Wisconsin-Madison, 1978.

LeMasters, Donald.  The Art of the Trumpet.  MM Thesis:  Northwestern University, 1949.

Smith, John Robert.  Changes in the Musical Treatment of the Brass in Nineteenth-Century Symphony and Operatic Compositions.  DMA Diss.:  University of Texas-Austin, 1974.

Wilson, Cecil.  Berlioz’ Use of Brass Instruments.  Ph.D. Diss.:  Case Western Reserve University, 1971.

Zorn, Hans.  Die Trompete in der deutschen Orchestermusik von 1750 bis  ms. 20 Jahrhundert.  Ph.D. Diss.:  Innsbruck, 1973.

Essay 5 ACOUSTICS

Books

 Askill, John.  Physics of Musical Sounds.  New York:  D. Van Nostrand Co., 1979.

 Benade, Arthur H.  Fundamentals of Musical Acoustics.  New York:  Oxford University Press, 1976.

 ________.  Horns, Strings, and Harmony.  Garden City, N.Y.:  Doubleday & Co., 1960.

 Culver, Charles.  Musical Acoustics.  Philadelphia:  Blakiston Co., 1947.

 Hall, Donald E.  Musical Acoustics:  An Introduction.  Belmont, CA:  Wadsworth and Co., 1980.

 Helmholtz, Hermann C. F.  On the Sensations of Tone as a Physiological Basis for the Theory of Music.  Trans. by Alexander J. Ellis.  3rd edition.  London:  Longmans, Green & Co., 1895.

 Jeans, Sir James.  Science and Music.  Cambridge:  Cambridge University Press, 1937.

 Muller, Ulrich.  Untersuchungen zu den Strukturen von Klangen der Clarin und Ventiltrompete.  Regensburg:  Gustav Bosse Verlag, 1971.

 Roederer, Juan G.  Introduction to the Physics and Psychophysics of Music.  London:  English University Press, 1973.

 Smith, F. Joseph.  The Experiencing of Musical Sound.  New York:  Gordon & Breach, 1979.

 Taylor, C. A.  The Physics of Musical Sounds.  New York:  American Elsevier Publishing Co., 1965.

 Periodicals

Backus, John.  “Input Impedance Curves for Brass Instruments,” Journal of the Acoustical Society of America, Vol. LX (1976), pp. 470-480.

 Backus, John and T. C. Hudley.  “Harmonics Generation in the Trumpet,” Journal of the Acoustical Society of America, Vol. IXL (1971), pp. 509-519.

 Benade, Arthur H.  “The Physics of Brasses,” Scientific American, No. 229 (1973), pp. 24-35.

 _______. “From Instrument to Ear in a Room: Direct or vis Recording,” Audio Engineering Society Preprint. Presented at the 74th convention, New York City: (1983). XS

 Berger, Kenneth W.  “Some Factors in the Recognition of Timbre,” Journal of the Acoustical Society of America, Vol. XXXVI No. 10 (1964), pp. 1888-1891.

 Fleisher, Dennis.  “The Trumpet Receiver Gap:  An Acoustical Study,”  The International Trumpet Guild Journal, Vol. VII No. 2 (1982).

 Freedman, M. David.  “Analysis of Musical Instrument Tones,” Journal of the Acoustical Society of America, Vol. XLI No. 4 (1967), pp. 793-806.

 Lessen, Martin and Andre M. Smith. “A New Compensating Valve System for Brass Instruments” International Trumpet Guild Journal, Vol. 19, No. 4, May 1995, p. 47.

 Martin, Daniel.  “Directivity and the Acoustics Spectra of Brass Wind Instruments,” Journal of the Acoustical Society of America, Vol. XIII No. 3 (1942), pp. 305-308.

 Saldanha, E. L. and John F. Corso.  “Timbre Cues and Identification of Musical Instruments,” Journal of the Acoustical Society of America, Vol. XXXVI, No. 11 (1964), pp. 2021-2026.

Unpublished Talks and Dissertations

 Benade, Arthur H. “WIND INSTRUMENTS IN THE CONCERT HALL,” A talk given at the Parc de La Villette, Paris, 15 May 1984,  https://ccrma.stanford.edu/marl/Benade/writings/Benade-Villette1984.html

 Dunnick, Kim.  A Physical Comparison of the Tone Qualities of Four Different Brands of B flat Trumpets with Regard to the Presence and Relative Strengths of Their Respective Partials.  DM Diss.:  Indiana University, 1980.

 Figgs, Linda D.  Qualitative Differences in Trumpet Tones as Perceived by Listeners and by Acoustical Analysis.  Ph.D. Diss., University of Kansas, 1980.

 Fleisher, Dennis.  An Acoustical Study of the Trumpet Receiver Annulus.  MA Thesis: Eastman School of Music, 1980.

 Myers, Walter J.  A Photographic, Air Flow Direction, and Sound Spectrum Analysis of Two Trumpet Embouchures.  DMA Diss.:  University of Missouri, 1979.