The Winston Churchill Memorial Trust of Australia Report by: Nick Byrne 2002 Churchill Fellow To study the Ophicleide I understand that the Churchill Trust may publish this report, either in hard copy or on the internet or both, and consent to such a publication. I indemnify the Churchill Trust against any loss, costs or damages it may suffer arising out of any claim or proceedings made against the Trust in respect of or arising out of the publication of any report submitted to the Trust and which the Trust place on a website for access over the internet. I also warrant that my final report is original and does not infringe the copyright of any person, or contain anything which is, or the incorporation of which into the final report is, actionable for defamation, a breach of any privacy law or obligation, breach of confidence, contempt of court, passing-off or contravention of any other private right or of any law. Signed Dated
Executive summary: Nick Byrne C/o Sydney Symphony Orchestra Level 5, 52 William St, East Sydney, 2011 Position: 2 nd Trombone Contact: Ph. 02-93344644/ 0414903628 Project description: To Study the Ophicleide, the forerunner to the modern Tuba, with the worlds leading exponents, with a view of incorporating it into modern orchestral context. Highlights: - Studies with Marc Giradot in Lyon, France, the most respected performer on the instrument in Europe. -Studies with Stephen Wick, an active and established player in London. -Travel to Amsterdam to work with Jurgen van Rijin, solo- Trombone Concertgebouw Orchestra. -Travel to Chicago, USA, to work with and participate in group sessions and discuss performance application of Ophicleide in the modern Orchestra with Michael Mulcahy, Gene Pokorny, Charles Vernon, Jay Freidman, all members of Chicago Symphony. - Guest performance and recording on Ophicleide of Mendelssohn s Mid summer nights dream in St Petersburg and Moscow, Russia, with World Orchestra for Peace conducted by Maestro Valeri Gergiev. Performances are recorded by DECCA for later release. This is the first time in over 125 years, perhaps ever, that an Ophicleide has performed in Russia. Through my position with the Sydney Symphony Orchestra, and as a member of part-time staff at the Sydney Conservatorium, I will have numerous opportunities to utilise the instrument and provide an old sound to a contemporary orchestral setting as per the requirements of conductors and principally the demands of the composer. My invitation to Russia is an indication of both the rise in profile of the instrument, and the interest shown in my level of performance ability. I have also been invited to give a full recital in August 2003 at the Melbourne International festival of Brass at the National academy of Music, the first recital on the instrument in the Southern hemisphere and only the 2 nd full recital in the world in over a century.
Programme; Individuals: Marc Giradot; foremost performer/teacher, Lyon, France Stephen Wick; London-based performer/teacher Michael Mulcahy; 2nd Trombone Chicago Symphony Orchestra Gene Pokorny; Tuba, Chicago Symphony Orchestra Charles Vernon; Bass Trombone, Chicago Symphony Orchestra Hans Ströker; Bass Trombone, Vienna Philharmonic Wim Becu; Prominent specialist on early bass trombone Harry Reis; Solo Trombone, Köln Radio Philharmonic Orchestra Jurgen van Rijen; Solo Trombone, Concertgebouw Orchestra Nikolai Slepnev; Tuba, Kirov Orchestra, St Petersburg Orchestras/Concerts; -Orchestra Champs Elysees, Geneva, Switzerland -Chicago Symphony Orchestra, Berlin/Chicago -London Symphony Orchestra, Barbican centre -Orchestra Suisse Romande, Geneva, numerous occasions -BBC Philharmonic, Geneva -Scottish Chamber Orchestra, London -Munich Rundfunk Orchester -Chamber Orchestra of Europe, London -Concertgebouw Orkester, Amsterdam -Zurich Tonhalle Orchestra, numerous, Zurich/Geneva -Kirov Orchestra, Moscow Consertatoire/Marinsky Theatre, St Petersburg Institutions; -Geneva Conservatoire -Rotterdam Conservatoire -Zurich Hochschule -Lyon Conservatoire -Bern Hochscule für Musik
My fellowship primarily consisted of working with the prominent exponents on the Ophicleide in the world and exposing myself to as many musical experiences within my chosen specialisation as possible. Marc Giradot is the player of choice for most of the Orchestras and conductors that specialise in period performance of early 19 th century repertoire. His teaching is of an informal structure with an emphasis on orchestral repertoire and interpretation, and idiosyncratic playing problems that are inherently related to the Ophicleide. A major problem that any performer will encounter when approaching this instrument is intonation. The lower notes starting on B1 are generally sharp until the player reaches approx. F# where the instrument tends to become incredibly flat. This will generally be the case until B2, one octave above the fundamental, is reached. From here on up the instrument is relatively easy to manipulate in tune as the pitch is generally centred and predictable. This can easily exemplified with the following fingering chart with the intonation tendencies indicated + for sharp and for flat and / for combinations and cross fingerings. This chart is from the lowest possible pitch on an instrument pitched in C with the keys counted from the bell down; B: 1 C: open+ C#: 2+ D: 2/3 + D#: 2/3/4+ E: 5+ F#: 5/7+ G: 7- G#: 10- or 2/7 A: 8- B flat: 9- B: 1 C: open D flat: 2 D: 2/3 E flat: 2/3/4 E: 5 F: 6/5 F#: 1 or 5/7 G: open G#: 2 A: 2/3 B flat: 2/3/4 B: 1 C: open C#: 2 D: 2/3 D#: 1 or 2/3/4 E: open F: 9 or 2 F#: 1or 2/3 G: open G#: 2 or 6/7/8 A: 2/3 B flat: 2/3/4 B: 1 C: 2/3 or open
The nature of the instrument is that no two Ophicleides respond the same, in so far as if one was to attain a degree of accuracy upon one instrument; this ability would not directly correlate to another apparently identical Ophicleide. This will have a direct impact upon which fingerings may work on any given instrument. I have used in performance two different Ophicleides, one a Finck c. 1830 the other a Halari c. 1880, and they remarkable in their difference with a number of fingering and intonation discrepancies. Here is the primary challenge of any student of the Ophicleide. A performer wishing to perform on an Ophicleide must undertake a careful study of not only the inherent intonation problems that exist on all Ophicleides but also those of his or her particular instrument. Continue to experiment with different fingerings as it is only correct when the sound and intonation is centred. Thus there are no incorrect choices or combinations, surely a unique situation in the world of wind instruments. Be alert to the intonation in relation to the natural overtones of the instrument in that a sound on a brass instrument will only truly be in tune when the best sound is produced if the over tone series is in alignment, and vice-versa. The addition of the piston valve to lower brass instruments had become complete by 1850 so as to assure the Ophicleide had a place only in history, however the very nature of using key-type mechanisms on brass distinguishes the instrument, however flawed, by affecting the tonal colour so greatly that to use the Tuba in parts written for Ophicleide is as clumsy as substituting a Bass Clarinet part with a Saxophone. This fact is no more present than in works originating early in the 19 th century, such as Mendelssohn, Berlioz etc. For it is beyond doubt that such composers had this specific individual sound in mind when composing a prescribed piece. Some prominent and mainstream repertoire that is performed regularly in modern orchestras that would benefit from the use of an Ophicleide; Hector Berlioz: Symphonie fantastique (2) Harold in Italy Romeo and Juliet Damnation of Faust Requiem Mass (5) Te Deum All Overtures eg Corsair
Felix Mendelssohn: A Mid-summer nights dream (complete) Reformation Symphony (Number 5)-doubled part Elijah A calm sea and a prosperous voyage St. Paul Funeral march Richard Wagner: Overture to Rienzi Giuseppe Verdi: Requiem Mass The use of the Ophicleide within a modern symphonic orchestra will necessitate, by sheer dynamic potential, the use of much smaller equipment in the Trombone section. The modern Trombones dynamic range in much greater than its forefather of 150 years ago. The use of small-bore tenor trombones (Bach 16 or sim.) and/or a medium-bore tenor (Conn 88h) on the bass trombone part will not only lend a more historically accurate sound to the music but also provide the Ophicleide player the ability to balance the section more effectively. Even better would the addition of a G or F bass trombone where the piece dictates. This could have a positive flow-on effect within the brass section with the adoption of more homogeneous and correct choice of instruments. The sound associated with such a practice is quite different to the one we are now familiar with in the modern brass section. The original sound is bright and brilliant without being overbearing in the loudest of passages. The energy within the sound is not lost at lower dynamics. This cannot always be said in the modern setting. One such place that exemplifies this is in Hector Berlioz s Symphonie Fantastique of 1831 in the Dies Ire. The two Ophicleides double the Bassoons for the primary theme and in a modern setting the Tubas completely cover the unique timbres of the combination. Using Ophicleides as Berlioz intended reveals a new sound completely removed of the dense overbearing Tuba sound and revealing a woody, nasal texture that is far more appropriate in the context of judgement and redemption. Another place where the modern instrument is completely out of place is Mendelssohn s mid-summer nights dream. The orchestration is essentially classical in size and instrumentation yet the Ophicleide part now played by the orchestral Tuba which is totally incongruous. I have performed this piece on Ophicleide on numerous occasions and although meeting some resistance from conductors and
musicians alike, most have come to appreciate the tonal relevance of this new combination. Careful placement within the orchestra is important. For the Mendelssohn it is best to be placed as close to the woodwind as possible. Always try to sit in a quasi third Bassoon position as many of the harmonies and melodic figures are in common with them. Berlioz generally writes for a full brass section so the placement of the instrument is generally traditional at the end of the trombone section. It is of advantage to be always aware of the context and orchestration of any solo or tutti passages as with the new sounds being produced, new challenges follow with unfamiliar harmonies, unisons and solos being uncovered with the Ophicleide. The Ophicleide is far more suitable for an aspiring trombonist or euphonium player to attempt than for a tuba player. The range of the instrument closely resembles that of the trombone and the dimensions of the mouthpiece is very close to that of a small-bore instrument. Tuba players can find the register challenging and fatiguing, as its middle register is at the very upper reaches of a normal tuba register. The mouthpiece is of a specifically Ophicleide nature. It more resembles that of a large French horn in its funnel-like build with a very flat rim and thin walled cup. The use of a small trombone mouthpiece is highly undesirable as it seems to affect the natural overtones and resonance of the instrument, thus rendering the unique vocal quality dull and bland. An innate advantage, from a playing perspective, of playing the Ophicleide is its relative lack of resistance while blowing. Trombone players who shift from euphonium to trombone on a regular basis can meet some problems adapting to the innately different sensations of blowing. The Ophicleide is of a lower resistance than the trombone, so, in my opinion, swapping between these is a much more healthy option. I had a period of two weeks where I could only practice Ophicleide and once returned to the trombone the blowing lag and was negligible. Repertoire and studies are always going to be a problem for early 21 st century Ophicleide players. There are a number of pieces that were originally composed for the instrument however these are either lost or out of print long ago. Two pieces that are currently available to the performer are Variations for Ophicleide by G. Kummer (studio music, London) and Introduction and Polonaise by J. Demersseman (Richault publications, Paris). Both pieces expect virtuosic technical demands of the player and moments of great lyricism which exhibit the prowess and abilities of 19 th century performers. There are no study books or manuals available for the instrument however I have been very fortunate to have a copy of an original method by V. Caussinus. The book emphasises through duets and studies the value of a sound technical command of the
instrument through scales and arpeggios, and accuracy of intonation when combined with another Ophicleide. It also contains a many studies upon trills, gruppetos, turns, cadence points and other ornaments. This clearly exemplifies the expectations of solo virtuosity expected of the 19 th century performer.. The sourcing of instruments for a performer is always going to present a problem for the aspiring Ophiclidian. The last time that instruments were listed in manufactures catalogues was c.1900 (Ceousnon) and even then it is unlikely many were made for the proceeding twenty years. The instrument is available in original condition from a number of period instrument retailers such as Andre Bissonet in Paris and William Petit (Williampetit.com) in Nice, however it is important to recognise the difference between an ornamental instrument and one that could be potentially performed on. Slight wear on the action is the norm for a 125 year old instrument however it is important that the pads can be made to seal and the mechanism is serviceable. Conclusions/Recommendations The Ophicleide faces 150+ years of resistance to resume its place in the orchestra; however I believe that in the hands of a skilled, conscientious performer, its innate character outweighs any further resistance to this goal. The problem lies in the sourcing of an accomplished performer, and since the 1890 s, with the passing of the great English Virtuoso Samuel Hughes, this problem is only recently, with the assistance of the Churchill Trust and other like-minded bodies, being overcome. A student of the instrument will be faced with two primary challenges in approaching the Ophicleide. Firstly the performer must realise that the Ophicleide is neither a keyed trombone or tuba but a separate discipline in its own right. There is no common approach to any of these instruments except that the means of producing a sound are identical. Thus technical aspects such as dynamic, technical fluency, control, sound concept and interpretation are all idiosyncratically unique. The second challenge is that of intonation. The Ophicleide is an imperfect instrument in that the reasons for its replacement within the brass world are as relevant today as they were in 1850. To gain control over and to be able to program ones intonation is of great importance if the Ophicleide is to be considered an intrinsic part of orchestral music fabric. The performer must source an instrument that is of sound condition and build. This is not easy as they are very rare, and no Ophicleides have been mass produced in the last 125 years. There is a builder of
reproduction instruments in Los Angeles, USA however these are relatively expensive when compared to that of an original. A good condition instrument can often be purchased for around $3-4000Aus. which compares well to the $20000+ for a modern reproduction. Technical ability, particularly in intonation, must be developed as to keep the instrument relevant in the modern context. It is not always necessary to have a virtuosic technique but a reliable grasp of the intonation is worth a great deal more in an ensemble. To have a desire to show the instrument in its best light, even when meeting stiff resistance from the established instruments and musicians, is very important. The instrument possesses a noble and resonant tone like no other and the musician daring to tackle what was once so cruelly termed..the chromatic bullock by George Bernard Shaw, will need motivation and perseverance to address this age-old injustice. Through my work in the Sydney Symphony and solo/workshop/recital/recording appearances I hope to re-establish the Ophicleide as a viable alternative to more generic interpretations and instrumentation, and reintroduce to the wider public again the unique, sonorous character of this much maligned instrument.