Page:EB1911 - Volume 07.djvu/189

Hamburg, writing on the orchestra in 1713^[1] gives a description of the Zinck as a member of the orchestra, but in 1739,^[2] in his work on the perfect conductor, he deplores the decrease of its popularity in church music, from which it seems to be banished as useless. Gluck was the last composer of importance who scored for the cornet, as for instance in Orfeo, in Paride ed Elena, in Alceste and in Armide, &c. The great vogue of the curved cornet is not to be accounted for by its musical qualities, for it had a hard, hoarse, piercing sound, and it failed utterly in truth of intonation; these natural defects, moreover, could only be modified with great difficulty. Mersenne’s eulogium of the dessus, then more employed than the other cornets, can only be appreciated at its full value if we look upon the art of cornet playing as a lost art. “The dessus,” he says, “was used in the vocal concerts and to make the treble with the organ, which is ravishing when one knows how to play it to perfection like the Sieur Guiclet;” and again further on, “the character of its tone resembles the brilliance of a sunbeam piercing the darkness, when it is heard among the voices in churches, cathedrals or chapels.”^[3] Mersenne further observes that the serpent is the true bass of the cornet, that one without the other is like body without soul. A drawing in pen and ink of a curved cornet is given by Randle Holme in his Academy of Armoury (1688);^[4] and at the end of the description of the instrument he adds, “It is a delicate pleasant wind musick, if well played and humoured.” Giovanni Maria Artusi^[5] of Bologna, writing at the end of the 16th century, devotes much space to the cornet, explaining in detail the three kinds of tonguing used with the instrument. By tonguing is understood a method of articulation into the mouthpiece of flute, cornet à pistons or trumpet, of certain syllables which add brilliance to the tone. Artusi advocates (1) for the guttural effect, ler, ler, ler, der, ler, der, ler; ter, ler, ter; ler, ter, ler; (2) for the tongue effect, tere, tere, tere; (3) for the dental effect, teche, teche, teche, used by those who wish to strike terror into the hearts of the hearers—an effect, however, which offends the ear. A clue to the popularity of the instrument during the middle ages may perhaps be found in Artusi’s remark that this instrument is the most apt in imitating the human voice, but that it is very difficult and fatiguing to play; the musician, he adds elsewhere, should adopt an instrument to imitate the voice as much as possible, such as the cornetto and the trombone. He mentions two players in Venice, Il Cavaliero del Cornetto and M. Girolamo da Udine, who excelled in the art of playing the cornet.

Being derived from the horn of an animal through which lateral holes had been pierced, the curved cornet was probably the earlier, and when the instrument came to be copied in metal and in wood the straight cornet was the result of an attempt to simplify the construction. The evolution probably took place in Asia Minor, where tubes with conical bore were the rule, and the instrument was thence introduced into Europe. A straight Zinck, having a grotesque animal’s head at the bell-end, and six holes visible, is pictured in a miniature of the 11th century.^[6] What appears to be precisely the same kind of instrument, although differing widely in reality, the chaunter being reed-blown, is to be found in illuminated MSS. as the chaunter of the bagpipe, as for example in a royal roll of Henry III. at the British Museum,^[7] where it occurs twice played by a man on stilts. The grotesque was probably added to the chaunter in imitation of that on the straight Zinck. Two stille Zincken or cornetti muti are among the musical instruments represented in the triumphal procession of the emperor Maximilian I.^[8] (d. 1519), designed at his command by H. Burgmair under the superintendence of Albrecht Dürer.

(b) Cornet à Pistons, Cornet, Cornopaean (Fr. cornet à pistons; Ger. Cornett; Ital. cornetto), are the names of a modern brass wind instrument of the same pitch as the trumpet. Being a transformation of the old post-horn, the cornet should have a conical bore of wide diameter in proportion to the length of tube, but in practice usually only a small portion of the tube is conical, i.e. from the mouthpiece to the slide of the first valve and from the slide of the third valve to the bell. The tube of the cornet is doubled round upon itself. The cup-shaped mouthpiece is larger than that of the trumpet; the shape of the cup in conjunction with the length of the tube and the proportions of the bore determines the timbre of the instrument. The outline of the bottom of the cup, where it communicates with the bore, is of the greatest importance.^[9] If, as in the trumpet, it presents angles against which the column of air breaks, it produces a brilliant tone quality. In the cornet mouthpiece there are no angles at the bottom of the cup, which curves into the bore; hence the cornet’s loose, coarse quality of tone. The sound is produced by stretching the lips across the mouthpiece, and making them act as double reeds, set in vibration by the breath. There are no fixed notes on the cornet as in instruments with lateral holes, or with keys; the musical scale is obtained by means of the power the performer possesses—once he has learned how to use it—of producing the notes of the harmonic series by overblowing, i.e. by varying the tension of the lips and the pressure of breath. In the cornet this series is short, comprising only the harmonics from the 2nd to the 8th:

$\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \ \end{matrix}}\right.}$

Harmonic series of the B♭ cornet—the 7th is slightly flat, a defect which the performer corrects, if he uses the note at all.

The intermediate notes completing the chromatic scale are obtained by means of three pistons which, on being depressed, open valves leading into supplementary wind-ways, which lengthen the original tube. The pitch of the instrument is thus lowered respectively one tone, half a tone, and one tone and a half. The action of the piston temporarily changes the key of the instrument and with it the notes of the harmonic series. Before a performer, therefore, can play a note he must know in which harmonic series it is best obtained and use the proper piston in conjunction with the requisite lip tension. By means of the pistons the compass of the cornet is thus extended from

Real sounds for the cornet in C.
	$\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \ \end{matrix}}\right.}$	(The minims indicate the practical compass but the extension shown by the crotchets is possible to all good players.)

The treble clef is used in notation, and in England the music for the cornet is usually written as sounded, but most French and German composers score for it as for a transposing instrument; for example, the music for the B♭ cornet is written in a key one tone higher than that of the composition.

Fig. 3.—B♭ Cornet with enharmonic
valves (Besson & Co.).

The timbre of the cornet lies somewhere between that of the horn and the trumpet, having the blaring, penetrating quality of the latter without its brilliant noble sonorousness. The great favour with which the cornet meets is due to the facility with which it speaks, to the little fatigue it causes, and to the simplicity of its mechanism. We must, however, regret from the point of view of art that its success has been so great, and that it has ended in usurping in brass bands the place of the bugles, the tone colour of which is infinitely preferable as a foundation for an ensemble composed entirely of brass instruments. Even the symphonic orchestra has not been secure from its intrusion, and the growing tendency in some orchestras, notably in France, to allow the cornet to supersede the trumpet, to the great detriment of tone colour, is to be deplored. The cornet used in a rich orchestral harmony is of value for completing the chords of trumpets, or to undertake diatonic and chromatic passages which on account of their rapidity cannot easily be fingered by trombones or horns. The technical possibilities of the instrument are very great, almost unrivalled in the brass wind:—notes sustained, crescendo or diminuendo; diatonic and chromatic scale and arpeggio passages; leaps, shakes, and in fact all kinds of musical figures in any key, can be played with great facility on the three-valved cornet. Double tonguing is also practicable, the articulation with the tongue of the syllables ti-ke for double, and of ti-ke-ti for triple time producing a striking staccato effect.

Fig. 4.—B♭ Cornet with strictly conical bore throughout,
Klussmann’s patent (Rudall, Carte & Co.).

The cornet was evolved in Germany, at the beginning of the 19th century, from the post-horn, by the application of the

1. Das neu-eröffnete Orchester (Hamburg, 1713), p. 253.
2. Der vollkommene Kapellmeister (Hamburg, 1739).
3. See Mersenne, op. cit., bk. v., p. 274.
4. Part of book iii. in MS. Harleian, 2034, fol. 207b. Brit. Museum.
5. Delle imperfettioni della moderna musica (Venice, 1600), pp. 4, 5, 6 and 12b.
6. Gräfl. Schönborn Bibl. Pommersfelden, Cod. 2776, reproduced in E. Buhle’s Die musikalischen Instrumente in den Miniatur-Handschriften des Mittelalters, part i. (Leipzig, 1903) pl. 6 and p. 24, where other references will be found.
7. Royal Roll, 14 B. v. 13th century. See also Augustus Hughes-Hughes, Catalogue of MS. Music in the British Museum, part iii.
8. See “Triumphzug des Kaisers Maximilians I.,” Beilage zum 1sten Bd. d. Jahrbuch der Samml. des Allerhöchsten Kaiserhauses (Vienna, 1883), part i. p. 26, and letterpress, Bd. i. pp. 154-181.
9. See Victor Mahillon, Éléments d’acoustique musicale et instrumentale (Brussels, 1874), pp. 96, 97, &c., with diagrams, and Friedrich Zamminer, Die Musik und die musikalischen Instrumente, &c. (Giessen, 1855), p. 310, &c., with diagrams.