Tromba circolare ca. 1830 questa iterazione della tromba ferma assume la forma di un corno a mano in miniatura realizzato in ottone, completo di un vasto assortimento di crooks e di una cassa in legno compartimentalizzato rivestita in camoscio. Lo strumento è fornito di sei croocchi interni (inseriti centralmente nel corpo dello strumento secondo un'invenzione strimpo o cor solo); due uncini interni che accorciano la lunghezza sonora dello strumento, con un ricevitore del boccaglio che bypassa il ricevitore del crook terminale sul corpo dello strumento e una gamba costituita da tubature fittizie; tre termini
4000 x 3000 px | 33,9 x 25,4 cm | 13,3 x 10 inches | 300dpi
Data acquisizione:
22 gennaio 2022
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Circular Trumpet ca. 1830 This iteration of the stopped trumpet takes the form of a miniature hand horn fashioned from brass, complete with an extensive assortment of crooks and a chamois-lined compartmentalized wooden case. The instrument is supplied with six internal crooks (inserted centrally into the body of the instrument in the manner of an inventionstrumpet or cor solo); two internal crooks that shorten the sounding length of the instrument, with a mouthpiece receiver that bypasses the terminal crook receiver on the body of instrument and one leg consisting of dummy tubing; three terminal crooks, and one coupler. The instrument and its crooks have similar hollow, tubular stays with rectangular flanges. Although no evidence of polychrome is present, it is likely that the instrument would originally have had a painted bell interior. The body of the instrument is engraved on the bell, in copperplate script, as follows:Jahn, à ParisDespite the invention of valves for brass instruments in 1814, makers and performers continued to experiment with a wide range of technology and performance practice techniques to enable brass instruments to play chromatically during the first half of the 19th century. This was driven both by teething problems with early valves and by a timbral aesthetic that prized the expressive nuances of hand stopping on natural brass instruments. Although this was best exemplified by the hand horn, the technique was also applied to natural trumpets that were configured to allow easy access to the bell interior and is described in a number of treatises, including those by Joseph-Gebhardt Kresser, Karl Bagans, and Joseph-David Buhl. By inserting fingers into the instrument’s bell and closing it off to varying degrees, the notes of the harmonic series can be manipulated to produce a chromatic scale. This technique and its resultant veiled timbre made the circular trumpet particularly well suited to soft, lyrical playing, which placed it at odds wi
