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Audio Resources

Introduction

Most of the instruments in the Collection were played by specialists in the field of period instrument performance. Their contribution to the project included ascertaining the nominal and performing pitch of the instruments and any characteristics of performance (including notes on tuning, moving parts) and identifying faults not identified through a visual inspection (leaking key pads, joints on brass instruments and cracks in woodwind instruments).
Where an item was suitable to be played and in a good enough state or repair, recordings were made using the studios at Birmingham Conservatoire.

About the music chosen for the audio examples

The pieces of music used for these recordings were chosen to highlight particular characteristics of the instruments whilst being typical repertoire for the general period in which the instrument was made. The development of musical instrument making is both a story of composers and performers demanding improvements and alterations to instruments and that of makers experimenting with new features and inventing new instruments. In general the music chosen was written at the time of the making of instrument or earlier, rarely later. In many cases, extracts were chosen that didn’t require certain notes or faulty keys, or that avoided range with intonation problems.

All audio samples are available as a WAV file (CD quality) or as an MP3.

RECORDER

Notes on recording the Foley recorder.
The instrument has an unfocussed tone with a breathy quality, probably due to the damage to the lip. The two octave range is considerably contracted i.e. the distance between f’ and f’’’ is much too narrow. The middle part of the range is relatively usable e.g. from g’ to d’’. However, even here g’’ is very sharp and requires the addition of finger 4 all the time and f’’ is also sharp and requires finger 5 or possibly 4 all the time.
The performer on this extract is Ross Winters. This recording was made on 9th July 2008.

1.4 - Recorder by Foley
♦ James Hook (1747 - 1827): Divertimento: Allegro (A Third Set of Twelve Divertimentos, Op. 35, 1784). WAV | MP3
Originally for harpsichord with accompaniment by violin or flute, this arrangement is transposed up a 4th for the recorder.

FLUTES

These instruments were recorded on 15 July 2008. The performer on these extracts is Lisa Beznosiuk.

2.1 - piccolo by Bilton
♦ Giacomo Rossini (1792 - 1868) - "Non piu mesta” (La Cenerentola) Reprinted in School for the Flute, 1836, Charles Nicholson. WAV | MP3

♦ Tune for the parrot from Bird Fancyer’s Delight (1717). WAV | MP3

2.5 - flute in F by Riley and Sons
♦ A tune for the East India Nightingale, from Bird Fancyer’s Delight (1717). WAV | MP3

♦ Woodlark 2 from Bird Fancyer’s Delight (1717). WAV | MP3

♦ Woodlark 1, from Bird Fancyer’s Delight (1717). WAV | MP3

♦ Wolfgang Amadeus Mozart (1756 - 1791): Bin ich ja - Bird catcher’s aria (Die Zauberflöte). WAV | MP3

2.7 - flute, anon
♦ Wolfgang Amadeus Mozart (1756-1791): Wie stark ist nicht dein Zauberton (Die Zauberflöte) 19th century flute arrangement. WAV | MP3
♦ Nicholson tutor Andante ‘Durandate’. WAV | MP3
♦ A tune for the Canary Bird 5, from Bird Fancyer’s Delight (1717). WAV | MP3
♦ A tune for the Canary Bird 3, from Bird Fancyer’s Delight (1717). WAV | MP3

2.10 - flute, anon
♦ Wolfgang Amadeus Mozart (1756 - 1791) Ein Mädchen oder Weibchen (Die Zauberflöte). WAV | MP3

OBOES

The oboes were recorded on 11th June (3.4 and 3.6), and 23rd September (3.5), 2008. The performer is Gail Hennessy.

3.4 - Oboe ‘Moore’
♦ “Air in the Worm Doctor”. Reprinted in “Compleat Tutor For the HAUTBOY…. London, John Simpson” c. 1750 WAV | MP3

3.5 - Oboe by Cahusac
♦ George Frederick Handel (1685 - 1759) “Air in Ester” (introduction). Reprinted in “New and Complete Instructions for the Oboe or Hoboy … Longman, Lukey and Co.” c. 1772. WAV | MP3

3.6 - Vox humana by Roustenaq
♦ Psalm 100 (Bedford Tune) from Thomas Green and Christopher Clark: Vocal Harmony displayed in Psalmnody (1745). WAV | MP3
♦ Psalm 104 (Mansfield Tune) from Thomas Green and Christopher Clark: Vocal Harmony displayed in Psalmnody (1745). WAV | MP3

Notes: A new crook was made specifically for this recording by Matthew Dart. The warped instrument body and perhaps bad positioning of some of the finger-holes made intonation difficult.

CLARINETS

The clarinets were recorded on 9th July 2008. The performer is Michael Harris.

4.1 - F clarinet by Monzani
♦ Karl Stamitz (1745 - 1801) 1795 WAV | MP3
Notes: Recorded using the original barrel and mouthpiece.

4.4 - B flat clarinet by Thomas Key
♦ Jean Xavier Lefèvre (1763 - 1829) Sonata No. 1, Second movement, Adagio WAV | MP3
Notes: Recorded using Michael’s own barrel and mouthpiece.

4.5 - B flat clarinet by Cramer & Sons
♦ Jean Xavier Lefèvre (1763 - 1829) Sonata No. 1, First movement, Allegro moderato WAV | MP3
Notes: Recorded using Michael’s own barrel and mouthpiece.

BUGLES, TRUMPETS AND CORNOPEAN

These instruments were recorded by David Blackadder on 11th July 2008.

6.1 - Keyed bugle by Joseph Greenhill
♦ Carry me back to old Virginia (1878) WAV | MP3
Notes: Recorded using mouthpiece 13.3.

6.3 - Keyed bugle, anon
♦ The British Grenadiers WAV | MP3
Notes: Recorded using mouthpiece 13.3.

6.5 - Bass trumpet by Courtois
♦ Richard Wagner (1813 - 1883): Overture to Tannhäuser (1845) WAV | MP3
Notes: Recorded using Courtois mouthpiece, 13.21. The valve tuning slides were stuck making intonation difficult.

6.9 - Vocal horn by Rudall Carte
♦ Franz Lehár (1870 - 1948): You are my heart’s delight (The Land of Smiles, 1929) WAV | MP3
Notes: Recorded using mouthpiece 13.10.

6.10 - Ballad horn, anon
♦ Sir Arthur Sullivan (1842 - 1900): The lost chord (1877) WAV | MP3
Notes: Recorded using mouthpiece 13.11.

6.11 - Cornopean by George Wigglesworth
Notes: Recorded using original cornopean mouthpiece, 13.20.
George Frederick Handel (1685 - 1759): Where e’er you walk (Semele, 1744) WAV | MP3

Notes: Recorded using the instrument’s A flat crook and using clapper key for final cadential trill.

♦ Franz Schubert (1797 - 1828): Ave Maria D. 839 WAV | MP3
Notes: Recorded using the instrument’s G crook.

6.12 - Folded coach horn
♦ Wolfgang Amadeus Mozart (1756 - 1791): Post horn serenade K 320 WAV | MP3
Notes: Recorded using mouthpiece 13. 18 (making pitch A4 = 450).

TROMBONES

These instruments were recorded on 21st May and 23rd September (7.8 Boosey contra-bass trombone), 2008. The performers are Susan Addison and Alwyn Green (7.8).
General notes on recording the historical trombones:
In early trombones there is a generally a greater difference in sound quality between louds and softs than in modern instruments. There also tends to be a more focused sound.

6.6 - Tenor valve trombone by Oertel
♦ Yankee Doodle (c. 1755). WAV | MP3

6.8 - Alto valve trombone by Jaubert
♦ Le Marseillaise. WAV | MP3
Notes: All the valve tuning slides were stuck which made intonation difficult. Recorded using Sue’s modern alto trombone mouthpiece due to the instrument having a small mouthpiece receiver.

7.1 - Alto trombone by M. & S. Hyam
♦ Robert Schuman (1810 - 1856): Movement 4, Feierlich from Symphony No. 3, Op. 97). WAV | MP3
♦ Hector Berlioz (1803 - 1869): Movement 4, Marche au Supplice from Symphonie fantastique (1830). WAV | MP3
Notes: Recorded Sue’s modern Walburton alto trombone mouthpiece.

7.2 - Tenor trombone by Peerless
♦ J. A. Greenwood: The Acrobat (c. 1920). WAV | MP3
Notes: Main tuning slide was not easy to move as can be heard between the first and second sections. Recorded using mouthpiece 13.14.

7.3 - Tenor trombone by J. Higham
♦ Hector Berlioz (1803 - 1869): Funeral sermon from Symphonie fantastique (1830). WAV | MP3
Notes: Recorded using mouthpiece: 13.14.

7.4 - Tenor trombone by Hawkes & Son
♦ Alexandre Guilmant (1837 - 1911): Morceau Symphonique, Op. 88. WAV | MP3
Notes: This instrument was recorded using Susan’s own copy of a 19th century French mouthpiece. This is smaller than most modern mouthpieces, the rim is flatter and the cup has a more conical profile, like a French Horn.

7.5 - Tenor trombone by Boosey & Hawkes
♦ Maurice Ravel (1875 - 1937): Bolero (1928). WAV | MP3
Notes: Recorded using mouthpiece 13.14.

7.6 - Bass trombone by Courtois
♦ Gaetano Donnizetti (1797 - 1848): ‘Per te d’immenso giubilo’ from Lucia di Lammermoor (1835). WAV | MP3
Notes: Recorded using mouthpiece 13.16.

7.7 - Bass trombone by Besson & Co.
♦ Sir Henry Wood (1869 - 1944): ‘The Saucy Arethusa’ from Fantasia on British Sea Songs (1905). WAV | MP3
Notes: Recorded using mouthpiece 13.16.

7.8 - Contra-bass trombone by Boosey & Co.
♦ Sample: Harmonic series - fundamental and 11 harmonics. WAV | MP3
♦ Richard Wagner (1813 - 1883): excerpt from Act I, Scene 2 of Reingold, ‘Vanhalla’ motif 1. WAV | MP3
♦ Wagner: excerpt from Act I, Scene 2 of Reingold, ‘Vanhalla’ motif 2. WAV | MP3
♦ Wagner: excerpt from Act I, Scene 2 of Reingold, ‘Spear’ motif. WAV | MP3
♦ Wagner: excerpt from Reingold, ‘Hero’ motif. WAV | MP3
Notes: Recorded using Alwyn’s own mouthpiece.

7.9 - Bass trombone by F. Besson.
♦ Felix Mendelssohn (1809 - 1847): ‘But the Lord from the North has raised one’ from Elijah (1846). WAV | MP3
Notes: Recorded using mouthpiece: 13.16.

7.10 - Tenor trombone by Metzler & Co.
♦ Duke Ellington (1899 - 1974): ‘Sophisticated Lady’ (1932) - high pitch. WAV | MP3
♦ Duke Ellington (1899 - 1974): ‘Sophisticated Lady’ (1932) - low pitch. WAV | MP3
Notes: Recorded using Sue’s 19th century mouthpiece copy for high pitch and mouthpiece 13:14 for the low pitch version.

HORN

The French horn by Boosey & Co. was recorded on Monday 12th August, 2008. The performer is Anneke Scott.

9.1 - French horn by Boosey & Co.
♦ Johannes Brahms (1833 - 1897) Symphony No. 1, Movement 2 (Op. 68). WAV | MP3
Notes: Using F crook 1
♦ Johannes Brahms (1833 - 1897) Symphony No. 1, Movement 2 (Op. 68). WAV | MP3
Notes: Using Higham F crook
♦ Charles Gounod (1818 - 1893) Six Melodies, No. 4 (c 1840-48). WAV | MP3
Notes: Using Higham F crook
♦ Paul Dukas (1865 - 1935) Villanelle for horn and piano (1909). WAV | MP3
Notes: Using Higham F crook.

STRING BOWS

The string bows were recorded on 17th July 2008 by Margaret Faultless.
To illustrate the contrast between the bows and to allow more direct comparison between them, the same pieces of music were used for bows of the same period of development and a selection of samples were also recorded: for the earlier, late eighteenth century bows, a series of long notes and scales were recorded to highlight the range of responses inherent by playing at different points of the bow. For the later bows simple long notes were recorded. The bows cover over one hundred years of making and three main stages of development, from late eighteenth century bows with the frog usually made of ivory and ‘open’ in style (the bow hair is not secured to the frog by a ferule) and transitional style heads, through mid nineteenth century bows which have frogs made of a variety of materials (mostly ivory or ebony) and hatchet style heads, arriving at late nineteenth / early twentieth century bows which have square shaped fully mounted frogs, usually made of ebony, with a standard ‘modern’ head shape.

Late eighteenth century bows
These bows were recorded using a violin by Bergonzi, c 1760. The finger-board is shorter than the modern equivalent and neck-angle is less acute, with no chin rest or shoulder rest. The strings used were plain gut for the E, A and D strings and a silver-wound gut G string.
Pitch: A₄ = 415 Hz

10.21 - Violin bow by Dodd
♦ Samples:
1. messa di voce using the middle part of the bow; 2. messa di voce using the upper part of the bow; 3. slow ascending and descending scale using the middle part of the bow; 4. slow ascending and descending scale using the upper part of the bow; 5. fast ascending and descending scale using the lower part of the bow; 6. fast ascending and descending scale using the upper part of the bow. WAV | MP3
♦ Franz Haydn: 1st movement, Allegro from Symphony 104, “London” (1795). WAV | MP3
Notes: MF found bow created a softer sound than other late eighteenth century bows, easy to crack notes.

10.26 - Violin bow, School of John Dodd
♦ Samples: 1. messa di voce using the middle part of the bow; 2. messa di voce using the upper part of the bow; 3. slow ascending and descending scale using the middle part of the bow; 4. slow ascending and descending scale using the upper part of the bow; 5. fast ascending and descending scale using the lower part of the bow; 6. fast ascending and descending scale using the upper part of the bow. WAV | MP3
♦ Franz Haydn: 1st movement, Allegro from Symphony 104, “London” (1795). WAV | MP3
Notes: MF, bow creates a soft sound, easier to crack notes and hard to get loud dynamics.

10.13 - Violin bow by Louis Torte
♦ Samples: 1. messa di voce using the middle part of the bow; 2. messa di voce using the upper part of the bow; 3. slow ascending and descending scale using the middle part of the bow; 4. slow ascending and descending scale using the upper part of the bow; 5. fast ascending and descending scale using the lower part of the bow; 6. fast ascending and descending scale using the upper part of the bow. WAV | MP3
Musical example:
♦ Franz Haydn: 1st movement, Allegro from Symphony 104, “London” (1795). WAV | MP3
Notes: MF, very light and easy to articulate.

10.17 - Viola bow by Dodd
♦ Samples:
1. messa di voce using the middle part of the bow; 2. messa di voce using the upper part of the bow; 3. slow ascending and descending scale using the middle part of the bow; 4. slow ascending and descending scale using the upper part of the bow; 5. fast ascending and descending scale using the lower part of the bow; 6. fast ascending and descending scale using the upper part of the bow. WAV | MP3
Musical example:
♦ Franz Haydn: 1st movement, Allegro from Symphony 104, “London” (1795). WAV | MP3
Notes: MF heavier bow and weighted more towards upper half of bow.

Early to mid nineteenth century bows
These bows were recorded using a violin by Francesco Ruggeri, c 1677, with a nineteenth century set-up and central chin-rest. The strings used were plain gut for the E, A and D strings and a silver-wound gut G string.
Pitch: A₄ = 435 Hz

10.12 - Violin bow by John Dodd
♦ Sample:
Long note using the whole bow. WAV | MP3
♦ Excerpt 1: Felix Mendelssohn (1809 - 1847): ‘Be not afraid’ from Elijah (1846). WAV | MP3
♦ Excerpt 2: Felix Mendelssohn (1809 - 1847): Overture to A Midsummer Night’s Dream (1826). WAV | MP3
♦ Excerpt 3: Felix Mendelssohn (1809 - 1847): 1st movement, Allegro from Symphony No. 4, “Italian”. WAV | MP3
Notes: Responds very well to the wide variety of articulations.

10.18 - Violin bow by John Dodd
♦ Sample: Long note using the whole bow. WAV | MP3
♦ Excerpt 1: Felix Mendelssohn (1809 - 1847): ‘Be not afraid’ from Elijah (1846). WAV | MP3
♦ Excerpt 2: Felix Mendelssohn (1809 - 1847): Overture to A Midsummer Night’s Dream (1826). WAV | MP3
♦ Excerpt 3: Felix Mendelssohn (1809 - 1847): 1st movement, Allegro from Symphony No. 4, “Italian”. WAV | MP3
Notes: MF, creates a softer edge to the sound than 10.12.

10.15 - Violin bow by John Dodd
♦ Sample: Long note using the whole bow. WAV | MP3
♦ Excerpt 1: Felix Mendelssohn (1809 - 1847): ‘Be not afraid’ from Elijah (1846). WAV | MP3
♦ Excerpt 2: Felix Mendelssohn (1809 - 1847): Overture to A Midsummer Night’s Dream (1826). WAV | MP3
♦ Excerpt 3: Felix Mendelssohn (1809 - 1847): 1st movement, Allegro from Symphony No. 4, “Italian”. WAV | MP3
Notes: MF, quite easy to articulate notes. Possibly a kink in the stick.

10.19 - Violin bow by James Dodd
♦ Sample: Long note using the whole bow. WAV | MP3
♦ Excerpt 1: Felix Mendelssohn (1809 - 1847): ‘Be not afraid’ from Elijah (1846). WAV | MP3
♦ Excerpt 2: Felix Mendelssohn (1809 - 1847): Overture to A Midsummer Night’s Dream (1826). WAV | MP3
♦ Excerpt 3: Felix Mendelssohn (1809 - 1847): 1st movement, Allegro from Symphony No. 4, “Italian”. WAV | MP3
Notes: MF, doesn’t come off the string as well and is more whispy in character than other early to mid nineteenth century bows.

10.29 - Violin bow by Dodd
♦ Sample: Long note using the whole bow. WAV | MP3
♦ Excerpt 1: Felix Mendelssohn (1809 - 1847): ‘Be not afraid’ from Elijah (1846). WAV | MP3
♦ Excerpt 2: Felix Mendelssohn (1809 - 1847): Overture to A Midsummer Night’s Dream (1826). WAV | MP3
♦ Excerpt 3: Felix Mendelssohn (1809 - 1847): 1st movement, Allegro from Symphony No. 4, “Italian”. WAV | MP3

Late nineteenth century bows
These bows were recorded using a violin by Francesco Ruggeri, c 1677, with a nineteenth century set-up and central chin-rest. The strings used were plain gut for the E, A and D strings and a silver-wound gut G string.
Pitch: A₄ = 435 Hz

10.30 - Violin bow by W Tubbs
♦ Sample: Long note using the whole bow. WAV | MP3
♦ Excerpt 1: Edward Elgar (1857 - 1934): Chanson de Matin Op 15, No. 2, (1899, using first edition with original bowings and fingerings). WAV | MP3
♦ Excerpt 2: Edward Elgar (1857 - 1934): Variation 4 “W.M.B” from Enigma Variations Op 36 (1899) WAV | MP3
Notes: MF, a good all-round bow.

10.28 - Violin bow by J Tubbs
♦ Sample: Long note using the whole bow. WAV | MP3
♦ Excerpt 1: Edward Elgar (1857 - 1934): Chanson de Matin Op 15, No. 2, (1899, using first edition with original bowings and fingerings). WAV | MP3
♦ Excerpt 2: Edward Elgar (1857 - 1934): Variation 4 “W.M.B” from Enigma Variations Op 36 (1899). WAV | MP3
Notes: MF, sound cracks easily.

10.31 - Violin bow by J Tubbs
♦ Sample: Long note using the whole bow. WAV | MP3
♦ Excerpt 1: Edward Elgar (1857 - 1934): Chanson de Matin Op 15, No. 2, (1899, using first edition with original bowings and fingerings). WAV | MP3
♦ Excerpt 2: Edward Elgar (1857 - 1934): Variation 4 “W.M.B” from Enigma Variations Op 36 (1899). WAV | MP3
Notes: MF, sound cracks easily.

Audio Technical Data

Recorded at Birmingham Conservatoire, Studio 1

Sample rate: 96 kHz, 24 bit

Microphone: Sennheiser MKH40

Software: Logic Pro

Recording Engineer: Matthew O’Malley

Producer: Martin Perkins

Studies in the History of Western Musical Instruments

This is a new series of podcasts using instruments of the Birmingham Conservatoire Historical Instrument Collection to explore the development of Western Classical musical instruments. Each podcast focuses on an instrument or group of instruments and examines changes in their construction and design, and how musicians and composers responded to and initiated these changes. Interviews with specialist performers and demonstrations on original and replica historical instruments.

Podcasts can be downloaded directly below, or via the dedicated Birmingham City University iTunesU site (http://itunes.bcu.ac.uk) here.
Podcast 1: English Transitional Bows. mp3 audio | transcript

For all enquiries regarding the Historical Instrument Collection and the HIC website, please contact the Instrument Curator, Martin Perkins