The Sound of Brass: Blechblasinstrumente im 19. Jahrhundert / Brass Instruments in the Nineteenth Century. Romantic Brass Symposium 5

Dr. Adrian v. Steiger; Daniel Allenbach; Martin Skamletz

doi:10.5771/9783987402821

Summary

How do brass instruments sound like? Just loud? This cliché has always been associated with brass players. In the context of historically informed performance practice, however, this is only half the truth. Brass instruments used to stand for a powerful sound but compared to today they were much less loud. It is therefore a central concern of players and manufacturers of period replicas to gain insight into the sound of historical instruments. This volume brings together findings derived from technical methods, studies of materials history and musicological research, and also incorporates the field of instrument making, which likewise contributes to the sound of an instrument. This title is also available as Open Access.

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Bibliographic data

Edition: 1/2026
Copyright Year: 2026
ISBN-Print: 978-3-98740-281-4
ISBN-Online: 978-3-98740-282-1
Publisher: Ergon, Baden-Baden
Series: Musikforschung der Hochschule der Künste Bern
Volume: 21
Language: German
Pages: 231
Product Type: Edited Book

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1. Vorwort
2. Preface
The Trombone in Germany in the Nineteenth Century. Contexts, Idioms and Legacies Pages 11 - 24
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The German Trombone. Aspects of Its Materiality Pages 25 - 42
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Copper and Copper-Alloy Sheets for Musical Brass Instruments, Made in the Kingdom of Saxony Pages 43 - 64
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Romantic Bell Making Pages 65 - 70
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Der gegenseitige Einfluss von schwingender Luftsäule und Instrumentenkonstruktion Pages 71 - 78
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The Romantic Trombone in Italy. Music, Treatises, Instruments Pages 79 - 96
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Flat Pattern Sheet Brass Development in Trombone Bell Making. The Graslitz Method Pages 97 - 104
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Eine Ventilposaune mit einem Vorläufer der ›Berliner Pumpen‹. Blechblasinstrumentenbau in Berlin um 1830 Pages 105 - 116
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Franz Xaver Glöggl and Beethoven’s Equali. New Evidence Indicating the Formation of an all-Bb Trombone Section in Austria Pages 117 - 134
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“Answer, Echoes, Answer”1. The Challenges of Muted Horn Passages in Solo Repertoire of the 1820s Pages 135 - 152
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Semantic Connotations of the French Horn in Richard Wagner’s Ring des Nibelungen Pages 153 - 168
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Ein Wiener Stil der orchestralen Behandlung der Blechblasinstrumente. Seyfried aktualisiert Albrechtsbergers Instrumentenkunde und orchestriert eine Arie von Grétry neu Pages 169 - 206
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Johannes Kuhlo’s Conception of the ‘Posaunenchor’ and His Kuhlohorn. An Ideal of the Sacred Sound and Its Embodiment in the German Empire Pages 207 - 218
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Personen-, Werk- und OrtsregisterPages 219 - 230 Download chapter (PDF)