Re: [Finale] TAN: Beethoven's horn mutes

[YATESLAWRENCE]

Since this thread disappeared, Lowell Shaw, a world authority on natural horn (and a writer of admirable style), posted the folowing to the horn list:

<There were indeed  historical mutes of a particular variety which was able to
parallel the techniques of hand stopping. There is more than one description,
although none are adequate. There was a sort of mute resembling a DePolis
mute from the 30s (for those familiar with that design), but with a hole at
the flat end for the manipulation of the hand. I understand that there are
two of this example extant with a pair of Hoffmaster horns, right and left
handed, in a museum in Scotland or Ireland. This all I know about this type
of stopping mute.

A second variety of stopping compatible mute was invented by the great
personna of the late 18th century horn world, Karl Turrschmidt. In
Turrschmidt's version the mutes construction was virtually identical with
shorter mutes in use today, but the inner tube of the mute was occluded by a
ball on a plunger, extending out of the bottom of the mute. This plunger was
easily moved in-and-out by the performer, allowing, with skillful use, the
filling in of the hand horn gamut of pitches. Some of the young enterprising
British players have constructed, successfully, copies of this variety of
mute. Courteous inquiry will help you locate one of these treasures. They are
essential for the Beethoven Rondino for winds on period instruments, as well
as the quartet by Crusell for horns.

Experimentation has shown that a corkless gourd type mute may be utilized by
moving it from a totally occluding position to a partially occluding
position. Wine bottles, gourds, and paper-mache cones were all popular 18th
century mutes. A styrofoam coffee cup equipped with a tube extending from a
hole in it's bottom, although not historic, makes an excellent option for
those returning from rehersal break having discovered that their duties that
half include muting (excellent stop-mute. Cheap, does no damage to the horn
by deforming the bell.)

The regular mute without stopping devises has been in use throughout the
history of the horn. Old (18th and 19th century) mutes all seem to lack the
corks present on modern mutes, as they were held in place with the hand and
their placement adjusted to allow free delivery of all muted pitches. The
presence of corks on mutes does keep them from buzzing against the bell, but
somehow convinces the modern player that the mute is set into the horn
according to some sort of factory specifications, and must, under no
conditions, no matter how badly a note is playing, be moved from the position
of perfect cork engagement. In fact, players have been moving the mutes
around in the bell for over 300 years, especially low players where the
presence of the mute wreaks havoc with the air column on the lowest 2 or 3
partials of the overtone series.

Trumpets and trombones of the baroque era, according to Altenburg, had
transposing mutes, rarely used, and turned from wood, which were held in
place by friction with the bell.

Please don't attack me if you take issue with what I have written, I'm just
trying to share what small amount of information I have as I understand it.
Be nice to the crotchety old Perfesser. Corrections and additions are, of
course, always welcome.

Lowell Greer>

Lowell also corrects my assertion that mutes are not required in the Creation:

<BTW, one of the early 19th century editions of the Haydn Creation requires these mutes for one measley muted Eb, as well.

Lowell>

All the best,

Lawrence






http://lawrenceyates.co.uk