Tuba, Saxhorn and Ophicleide

... from the serpent in ca 1600 to today’s tuba have a rich and varied history, which has a lot to do with volume. But this history has hitherto been little researched. Often, it’s not even clear what instruments the composer wanted. In tuba parts, for example, it’s hardly ever stated whether the composer wanted a bass tuba, a contrabass tuba or the smaller “tuba français”.

A project at the HKB was devoted to the saxhorn, which is by no means merely a low wind instrument. And what is the link between the ophicleide and the saxophone?

The ophicleide (from the Greek ophis = snake or serpent, and kleis = key) originated in a search for a strong bass instrument that would be especially suited for outside music. Unlike the serpent, to whose name it refers, the ophicleide was made of metal and had very large tone holes that are covered not by the fingers, but by keys.

A research project at the HKB has explored the history and repertoire of the ophicleide, and has built replicas of the instrument for use today. The ophicleide turns out to be a virtuosic instrument with a wide range of expressive possibilities (see the following video).
(to the research project…)

Adolphe Sax (1814–1894) was a powerhouse of innovation in the realm of wind instruments. He did not just invent the saxophone, but was also responsible for a whole series of technological innovations (including medical devices). His commercially most successful invention was his family of brass instruments that were called after him, the “saxhorns”. The saxhorn is a complete family of instruments ranging from the smallest sopranino in high B flat to the large contrabass saxhorn in a low B flat; they were all equipped with the valves that were new at the time (see the following video).

Saxhorns are the precursors of today’s alto and tenor horns, the baritone, euphonium and bass, such as are established today in wind orchestras. Sax also left his traces as an innovator in this field, too. He developed a wind formation for the French infantry comprising woodwind and brass instruments, and a pure brass formation for the cavalry. Today’s wind bands and brass bands are all derived from Sax’s ideas.

A research project by the HKB and the Swiss Army Band reconstructed the original French brass band using original instruments. The homogeneity of sound of the Saxhorn band is impressive – this aspect had already been praised by both Sax himself and by Berlioz at the time.
(to the research project …)

Saxhorns (including historical mouthpieces) and original music of the project can be hired for opera performances and ensembles.

Many historical musical instruments are held today in museums and private collections. Some of them are still being played. This can make sense for violins and pianos, but is problematic in the case of wind instruments because of moisture from the breath. Wind instruments made of metal corrode from the inside out, while wooden instruments can easily develop cracks.

To play or to display?

Historical instruments are a dilemma. Should we conserve them by keeping them “silent”, i.e. by never playing them again? Or should we continue playing them until they give up the ghost, like most instruments of their time? This dilemma has no solution; either we silence the musical aspect of the instrument, or destroy it physically.