Re: Period vs Modern instruments?

Peter T. Daniels <[EMAIL PROTECTED]> wrote:

> Michael Haslam wrote:
> > 
> > Peter T. Daniels <[EMAIL PROTECTED]> wrote:
> > 
> > > Alan Watkins wrote:
> > > >
> > > > [EMAIL PROTECTED] (Michael Haslam) wrote in message...
> > > > > Peter T. Daniels <[EMAIL PROTECTED]> wrote:
> > > > > >
> > > > > > This reminds me of something I described last spring. At the Goldman
> > > > > > Band's Memorial Day concert in Green-Wood Cemetery, Brooklyn, one
> > > > > > piece called for "Taps" to be integrated into a suite of related
> > > > > > songs played by the full concert band. "Taps" was played not on a
> > > > > > bugle, but on a fanfare trumpet (I think identical to an orchestral
> > > > > > trumpet except that it's straight rather than coiled). I assume the
> > > > > > trumpet was used so that it would be in tune with the band, but
> > > > > > "Taps" didn't sound right -- because we always hear it played on a
> > > > > > solo bugle with its natural harmonics, while the trumpet's notes are
> > > > > > not pure harmonics.
> > > > > >
> > > > > > Similarly, I think Britten's Serenade calls for a natural horn
> > > > > > for the opening and closing fanfares, and a valve horn for the
> > > > > > songs.
> > > > >
> > > > > I don't think so. The Prologue and Epilogue are to be played on
> > > > > *natural harmonics* not on a natural horn. Still very spooky.
> > > > >
> > > > > Glad to see you're maintaining your fast grip on the facts, Peter.
> > > > >
> > > > > MJHaslam
> > > >
> > > > I am not qualified to comment about horn playing (much as I love the
> > > > chaps who so often sit near me and who play a treacherous instrument)
> > > > but Mr Brain used a Raoux horn of 1818 (as did his father, Aubrey)
> > > > until about 1950 or 1951 when he switched to an Alexander, believing
> > > > that the Alexander had a more "robust" sound.
> > > >
> > > > Either way my percussion teacher (who played alongside him for quite
> > > > a while) said he was remarkably consistent in his approach to music
> > > > making.  His preparation for a performance included tipping half a
> > > > pint of beer into his instrument and letting it run out through the
> > > > bell.
> > > >
> > > > When asked if this made any difference to the sound quality he
> > > > apparently remarked: "No, but the spit is a lot more enjoyable."
> > > >
> > > > The BBC library have a recording of Mr Brain playing the Britten
> > > > prologue (conducted by forgotten Harry Newstone) on his 1818 Raoux
> > > > and broadcast I think in 1954 or 1955.
> > >
> > > That would pretty much prove that the prologue (repeated at the end)
> > > was composed for the natural horn, and the wise horner won't use a
> > > valve horn for it.
> > 
> > Certainly not. The Raoux horn had piston valves so was not a natural
> > horn. You are completely wrong, Peter.
> 
> An 1818 valve horn. Then why (to come to Sightreader's point) did 1840s
> composers still consider themselves bound to using natural horns?

As pointed out elsewhere the piston valves were added subsequent to
manufacture but previous to DB playing it.
> 
> > > Need I repeat again that the most perfectly tuned orchestra I've ever
> > > heard was the CSO with Ormandy in RVW's Tallis Fantasy? (Having years
> > > earlier watched him berate the PhilaO's cellos for half an hour in the
> > > only chorus rehearsal of the Verdi Requiem at Saratoga, this was not
> > > surprising.)
> > >
> > > I also think Mr. Britten was on to something in making it a Serenade
> > > for Tenor, Horn, and _Strings_ -- no instruments with locked-in pitch.
> > 
> > What *are* you on about?
> 
> Same as "Taps" on trumpet vs. bugle. Pure intonation, not compromised to
> comport with a keyboard instrument or oboe or some such.

What is the difference between the oboe and the horn wrt subtle
adjustment of the tuning of individual notes? The harmonic series is the
same whether played on a bugle, trumpet or alphorn.

MJHaslam