The Trumpet Sonata in England

Author(s): Peter Holman

Reviewed work(s):
Source: Early Music, Vol. 4, No. 4 (Oct., 1976), pp. 424-429
Published by: Oxford University Press
Stable URL: http://www.jstor.org/stable/3126156 .
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iP
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Musiciansin thecoronation ofJamesII, Sandford,The History of the Coronation ofJarnes II and Queen Mary (1687)
procession
In his book The Music and History of the Baroque Trumpetbefore
1721,1Don Smithershas given us not only the most complete
account to date of the role of this little studied instrument,
but has also revealed a repertoireof music that even baroque
specialists had hardly suspected, which has mostly lain in
libraries unpublished and unperformed in modern times. In
particular, his chapters on English trumpet music, which
include a splendid discussion of Purcell's writing for the
instrument, reveal a group of composers contemporary with,
and not far inferior to, those of the much better known
Bologna and Moravian schools.2 If the sonatas by Finger,
Daniel Purcell, Paisible, Barrettand Eccles to be found in an
important set of manuscript orchestral parts in the British
Library(Add. 49599) lack the virtuosityof those by Torelli or
Vejvanovsky, they are certainly their equal in idiomatic
instrumental writing and dramatic style. Now the repertoire
revealed by Don Smithers, although impressive, was
comparatively small. Apart from the well known music by
Henry Purcell,3 it consists largely of the contents of three
manuscripts: British Library Add. Ms.49599, containing 9
trumpet sonatas, Add. Mss.30839, 39565-7, containing 2
trumpet sonatas, and several suites with trumpet, and a set of
part books belonging to Magdalen College, Cambridge
(formerly FitzwilliamMs.23E13-7),containing a mixed reper-
toire of theatre music, some with trumpet parts. Professor
Smithers maintained that these are 'the earliest and practic-
ally the only sources of English trumpet music by contem-
poraries of Henry Purcell'. Had he followed up his own
remark that 'much of this music could have been adapted
from the incidental overtures and act tunes used in contem-
porary English opera odes and masques', he would have
stumbled, as we shall see, on a much larger repertoire, most
424
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...
of which well deserves modern publication and perfor-
mance. To increase the chance of modern performances, I
have put the substance of my findings into tabular form at
the end of this brief survey; a survey which I hope and trust
will be found incomplete. May I therefore invite others to
amplify and correct it?
Most of the surviving English trumpet sonatas were
written as instrumental sections to extended vocal pieces
originally heard either at court (the birthday ode and
welcome song4), in church (the verse anthem, written largely
for the Chapel Royal5), in public halls (the Odes for St
Cecilia's Day and other special occasions6),and at the theatre
(overtures and entr'actes for plays, masques and operas').
Very few of these sonatas appear to have been composed as
orchestral music independent of vocal music, though some
appear to have been detached later for this purpose,8 and
others seem to have been conceived from the outset as
chamber music.9 A glance though the pages of The King's
Musick'o confirms what all this suggests: that the perfor-
mance of purely orchestral music (whether by the court
orchestra or other groups) was almost non-existent before
the second decade of the 18th century. It seems quite pos-
sible, even probable, that the first purely orchestral music
ever written for performance in London was Handel's Water
Music, written between 1715 and 1717, and by a German
familiar with the German tradition of performing and
publishing that sort of music." In England, the tradition of
orchestral music in court and church independent of vocal
music, what Biber called 'tam aris quam aulis servientes'2
simply did not exist. Of course, English newspapers of the
1690s reveal that instrumental music was the mainstay of the
newfangled public concerts, often held in taverns, at which
trumpet players were often heard; for instance, John Shore Ex.1
at Richmond New Wells, 27 September 1697:13'A Trumpet H. Purcell:'Welcomegloriousmorn'(1691)
Symphony
Song on the King, and a Song made for the Birthday of his
Highness the Duke of Gloucester: with two new Sonatas by 2 Tpt.
Mr John Shore. And variety of other new Musick ... being 2 Ob.
2 Vln.
the last time of performance this Season.. .'. Cramped Via.
conditions and economic necessity dictated that the music
heard was small-scale and performed in chamber style, such Continuo
as the music Roger North heard at York Buildings:'4 'I
observed well the musick here, and altho' the best masters in Editorial
their turnes, as well solo as concerted, shewed their gifts, yet -]
I cannot say, whatever the music was, that the entertainment
was good; because it consisted of broken incoherent parts;
now a consort, then a lutinist, then a violinosolo, then flutes,
then a song, and so peice after peice, the time sliding away,
while the masters blundered and swore in shifting places ...'.
Despite the trend away from court music towards private
enterprise in the years following the Glorious Revolution of
1688 (William and Mary kept their court establishment at a
much lower level than the music-loving Charles II and James
II), the following list of English trumpet sonatas, based on,
and expanded from Smithers, shows just how closely English
orchestral music before Handel was bound to the triple VlnsTutti
T
requirements of church, court and stage. From this list also,
the following general observations about musical style can be Obs.
made:
1. Scorings are generally of one or two types: trumpet,
strings a 4 and continuo, or, 2 trumpets, drums, 2 oboes,
bassoon, strings a 4 and continuo. From the rather laconic
scoring indications in the original sources it is clear that
oboes were often presumed to be playing with strings
without being mentioned specifically. In Weldon's overture
to TheJudgementof Paris,for instance, oboes and 'curtall' are
mentioned in the last movement, though the texture, style
Tpts.&
and common sense makes it clear that they should be playing obs.
in the previous movements. There are several trumpet works
by Henry Purcell, listed by Smithers" and Zimmerman6 with
apparently incomplete scorings, which are usually per-
formed thus today. For instance, the well known 'symphony' Tutti Vln.I
to Comeye sons of art (1694) appears to be scored in the VI..I
original version for trumpet, oboe and strings," but appears
in a later(?) transposed version as a 'symphony' in TheIndian
Queenin the more likely scoring of trumpet, 2 oboes, strings
and bassoon."1 Similarly, several of Purcell's larger scale +
4
trumpet 'symphonys' appear to need a timpani part for their
full effect to be realized: the overture to Purcell's superb ode
Welcome, gloriousmorn(1691)19 makes very little sense without
the addition of such a part adding solidity and grandeur to
the music. (Ex. 1).
As Thurston Dart pointed out,20such elementary points of
orchestral balance were a commonplace to the baroque
musician; many records and concert performances still
ignore these common-sense requirements.
2. It appears that Walsh occasionally published trumpet
sonatas in compressed versions for strings alone, omitting
trumpet and wind parts. A few of these are noted in the table, PurcellSociety vol. XI p.72 (Copyright1902)
425

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but many more are probably lurking in the large repertoire
of printed theatre overtures and dances for strings. An
incomplete list of these is to be found printed by Robert
Fiske.21
3. Purcell and his contemporaries scored quite in-
discriminately for trumpets in both C and D, strangely,
sometimes in the same work. Smithers22notices Dioclesian,
TheIndian Queen,TheFairyQueenand KingArthurall contain
changes between C and D trumpet writing, and offers a
number of possible reasons. In Daniel Purcell'ssetting of The
Judgementof Paris(1700), there are three trumpet sonatas, two
in D, and one (on p. 26 of the Walsh score) in C. It is this
sonata which is to be found as the opening of Again the
welcomemornwe sing, a court ode produced on 6 February
1699/1700, according to a note on the score. As his setting of
TheJudgementof Paris was produced at Dorset Garden on
11 April,23we can assume that an already composed sonata
was pressed into use, thus causing the key conflict. However
this explanation becomes slightly less convincing when the
following points are considered:
a. Henry Purcell frequently transposed trumpet
sonatas when transferringthem from work to work.
b. The change of tonality observed in TheJudgementof
Parisfits Daniel Purcell's overall scheme rather well, which is
(the trumpet sonatas occur at the points asterisked):D*-Dm-
Am-C-F-C*-Cm-C-Am-A-Dm-D*-Am-D-Dm-D. Unfor-
tunately this problem must be left unsolved until a complete
survey of tonality in these extended works is undertaken.
Incidentally, it will be noticed from my table that another of
Daniel Purcell's extended stage works, The Grove,produced
in 1700, contains two trumpet sonatas in the contrasted keys.
Overall, of the 62 multi-movement trumpet sonatas so far
found, 41 are in D, 20 in C, and one, by James Kremberg,in
D minor. I hope to show in a future article how the English
use of trumpets in minor keys was much more widespread
than hitherto suspected. For the time being note here that
Kremberg'sOvertureuses a technique also used by Moravian
composers such as Biber and Vejvanovsky24which involves
using the ordinary notes available with a natural C trumpet
to produce the ability to play in a minor key. A comparison
between the notes used by Biber in his Sonata in G minor for
trumpet, violin, 2 violas and continuo,25and the Kremberg
overturewill make this clear:
Ex.2
Kremberg Biber
4. I would take issue with Professor Smithers when he
attempts to find standard patterning of movements in the
English trumpet sonata.'26My table shows that each type of
movement going to make up a multi-movement work was very
largely stereotyped, but that almost every and any combina-
426
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tion of movements was considered appropriate.To make this
clear, I have described in general terms each of these
stereotypes,and then referred to them by letter (A, B, C, etc.)
in the appropriate place.in the table. It will be seen that very
few composers depart from the models described:
A: Slow movement, in C or C, usually found as an intro-
duction to type C, especially in sonatas with two trumpets
and timpani. Many of these movements have passages in
which the trumpets and timpani are echoed by the other
instruments, as in the opening of Henry Purcell'sHail, bright
Cecilia.27Some of these seem to be modelled on Purcell's
work.
B: Fast movement, non fugal, containing echo passages
between trumpet(s) (with continuo) and strings. Many of
these start with a passage for continuo alone in a style
probably originated by Henry Purcell in his 'Symphony' to
Arisemymuse28(1690), and later imitated by Daniel Purcell,
Clarke, Barrettand others. A comparison between these will
make this clear:
Ex.3
Henry Purcell: 'Arise my muse' (1690)
Daniel Purcell: 'Welcome. glorious day' (1698)
John Barrett: Sonata (c. 1700)
Jeremiah Clarke:'Welcome, beauty' (early 18th century)
v__04FFOFO
Another characteristictexture used in this type of movement
involves the doubling of the trumpet with violin I.
C: A fast canzonamovement in fugal style, nearly alwaysin
duple time, and usually contrasting two simultaneously
heard subjects. The fugal texture nearly always degenerates
into fanfares towards the end of the movement. Many of
these appear to be modelled on the canzonamovement in
Hail, brightCecilia.
D: A slow movement, in the tonic or relative minor key of
the sonata, scored without trumpets, and typically consisting
of repeated chords exploring chromatic harmony. The best-
known example is the slow movement of Purcell's trumpet
sonata (Z850).29
E: A slow movement in 3/4 or 3/2 with sustained melodic
lines, often in minuet or saraband rhythm. This type is much
less common in trumpet sonatas than type C.
F: A fast movement in 3/8, 6/8 or 12/8, in the style of a jig,
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Concerto ... byNicolaMatteisfrom Other Ayresand Pieces, London,1685

but usually without binary structure,and often in fugal style. 6 See An Accountof theMusicalCelebrations
on St Cecilia'sDay by W. H.
This type is nearly always placed last in trumpet sonatas. Husk (London, 1857). An indispensable account, still not
G: A fast movement in triple time, often in the rhythm of superseded.
See EnglishTheatreMusic in the EighteenthCenturyby Robert Fiske
a minuet, and occasionally using fugal writing. Not at all (London, 1973), which, despite its title, deals with late 17th-century
common. music in its earlier chapters.
8 For instance, the three sonatas by Daniel Purcell from The
TABLEof multi-movement trumpet sonatas composed in Judgement of Paris, found separately in British Library, Add.
England, 1685-1714. Ms.49599.
Note: to establish some sort of coherent repertoire, I have 9 For instance, the sonatas by Finger and Corbett for oboe, trumpet
and continuo, and those by Finger for violin, trumpet and continuo,
omitted single movement preludes, together with suites
and violin, oboe, trumpet and continuo.
using the trumpet intended as theatrical act-music, but 10 The King's Musick,A Transcriptof RecordsRelatingto Music and
without non-dance movements. It will be seen from the table Musicians,1460-1700, edited by Henry Cart de Lafontaine (London,
that the word 'sonata' is of no help in defining this reper- 1909, reprinted New York, 1973).
toire, as the words sonata, overture, sinfonia, symphony,concerto l See TheSonatain the BaroqueEra (Chapel Hill, 1959) by William
Newman, p. 212-54, and Hutchings op.cit. p. 114-32.
and even trumpetpeicewere used to describe the same kind of
12 In the title of: Sonatae,tam aris, quamaulis servientes,ab Authore
piece. Sources bracketedtogether are of the same piece. HenricoJ.F. Biber ... Salisburg... M.D.C.LXXVI,modern edition in
D.T.O. 106/7. It can best be rendered as: 'sonatas, as suitable for the
altaras for thecourt'.
13 The Post Man, 18 September 1697, reprinted in: A Calendarof
ABBREVIATIONS Referencesto Musicin Newspapers publishedin Londonand the Provinces
BM: British Library,referencesection (BritishMuseum). (1660-1719) by Michael Tilmouth, in R.M.A. Research Chronicle
No. 1(1961), p. 21.
Bod: Bodleian Library,Oxford, Music School Collection. 14
Quoted in RogerNorthon Music,edited by John Wilson (London,
Cfm: FitzwilliamMuseum, Cambridge. 1959), p. 305.
Folger: Folger ShakespeareLibrary,Washington. " Listed by Smithersop. cit. p. 207-11.
Gresham: Guildhall Library,EC4, GreshamMss. 16 See Henry Purcell 1659-1695 An analyticalcatalogueof his music
(London, 1963), by FranklinZimmerman.
Tenbury: Libraryof St Michael's College, Tenbury Wells. 17 Printed in Purcell Society Ed., vol. 24,
p. 87.
RCM: ParryRoom, Royal College of Music. i' Printed in Purcell Society Ed., vol. 19.
19 Printed in Purcell Society Ed., vol. 11, p. 72.
20
TheInterpretation of Music(London, 1954), p. 123.
21 op. cit. pp. 591-3.
1 London, 1973. 22 op. cit. p. 217.
2 See for instance,the discussionof the Bologna school in The 23 See Fiske op. cit. p. 15.
24 See Smithers
BaroqueConcerto
by Arthur Hutchings (London, 1961) p 64-88. op. cit. p. 187-8.
1 Listed Smithers
by op. cit. p. 207-11. 25 Mod. ed. in D.T.O. vol 106/7,
p. 113.
4 See The English Court Ode by Rosamund McGuiness (London,
26
op.cit.p. 203.
27 Printed in Purcell
1972). Society Ed., vol. 8, p. 1.
28
s See English ChurchMusic 1650-1750 by Christopher Dearnley Printed in Purcell Society Ed., vol. 11, p. 36.
29
(London,1970). Printed in Purcell Society Ed., vol. 31., p. 86.

427

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English Trumpet Sonatas 1685-1714
COMPOSER SOURCE TITLE TITLE OF COMPLETE DATE KEY SCORING FORM REMARK
WORK
ANON BM: Add.39565-7/30839, Sonata Tromba c.1690-1700 D tr,2vl,Bc B,D,E,F Similar in
(JAMES PAISIBLE?) p.52 the Ms, co
ANON Bod: C6, p.70 Welcome to the Quire of Heaven C tr,2vl,Bc A,C
(St Cecilia's Apotheosis)
JOHNBARRErr BM:Add.49599, No.1 Sonata 1700? D tr,ob,2vl,vla,Bc B,E,F A compr
published
the incid
Walksorth
JOHNBLOW BM: Add.31457, f.l (auto) Welcome every guest c. 1688-90 D 2tr,2vl,vla,Bc A,C,F
Gresham Ms.452, p. 174 (Ode on St Cecilia's Day)
LBM: Add.31452, f.47
Overture 1691 C/G A,C,G,
[Gresham Ms.452, p.1 The glor ous day is come 2tr,kdr,3ob,bsn, Although
Fitz.Ms.23.H.11, f.l Overture (Ode on St Cecilia's Day) 2vl,vla,Bc the work s
CLARKE BM: Add.30934, f3 (auto)
JEREMIAH Come, come along 1695/6 D tr,2ob,2vl,vla,Bc A,C,F,D Modem e
(Ode on the Death of Henry a 19th-ce
Purcell)
Tenbury Ms: 1232, No.8 O tell ye world 1697 D tr,kdr,2vl,vla,Bc B,F
('on ye peace concluded at
Reswick')
Tenbury Ms. 1232, No. 10 Sympho[nial Now Albion, raise thy drooping C 2tr,2ob,2vl,vla,Bc B,F
head
('on his Majesty'shappy
deliverance')
BM: Add.31813, f 101 Overture Welcome, Beauty D tr,2vl,vla,Bc B,F,A A 19th-ce
(Ode to Beauty)
WILLIAM
CORBETT XII Sonated tre Sonata XII c. 1700 C tr,ob,Bc Multimovement
(Op. 1, Roger, c.1700)
6 Sonataswithan overture Sonata I c. 1708 D tr,2vl,Bc B,C,E,F The uniqu
(Op.3, Walsh, c. 1708) Sonata II ,, D ,, A,B,E,E,F Library is
Sonata III ,, D ,, B,E,F There is
Sonata IV ,, D B,C,B,E,F edition in
Sonata V ,, D ,, B,E,F Geer, Lef
Sonata VI ,, D ,, B,E,F
WILLIAM CROFT MusicusApparatusAcademicus With noise of cannon 1713 D tr,2vl,vla,Bc B,C,B,F Modern e
(Author,c. 1715)
Ms. 1226
.Tenbury
JOHNECCLES [udgement of Paris Symphony for Thejudgement of Paris 1700 D tr,2vl,vla,Bc C,G,F
(Walsh,1702) Mercury
LBM: Add.49599, No. 16 Sonata Ms copy o
BM: Add.29378, f.96 Symphony Europe's Revells on ye Peace 1697 D 2tr,kdr, 2vl,vla,Bc A,B
GODFREY
FINGER BM: Add.49599, No.2 Sonata c. 1700 C tr,ob,Bc Multimovement Modern e
BM: Add.49599, No.3 Sonata c. 1700 D 2tr,2ob,2vl,Bc B,G,D,E,F Possibly
Judgemen
BM: Add.49599, No.4 Sonata c. 1700 C tr,ob,vl,Bc Multimovement Modern e
BM: Add.49599, No.8 Sonata c. 1700 C vln,ob[or tr],Bc Multimovement The oboe
trumpet, a

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 BM: Add.49599, No.11 Sonata c. 1700 C 2tr,3ob,bsn, B,F,C Possib
2vl,vla,Bc Judgem
NICHOLAHAYM Overturein Pyrrhus Overture Pyrrusand Demetrius 1708 D tr?,2vl,vla,Bc A,G,D,4 Presto Althou
(Cullen, c. 1708) style o
origina
KELLER Six Sonatas(Walsh,c. 1700)
GODFREY Sonata I c. 1700 D tr,2vl,vla,Bc B,C,Roundo,B,D,
Sonata II ,, D tr,2vl,vla,Bc B,D,G,C,4 Aria
Sonata III ,, D tr,2vl,vla,Bc Grouhd,G,F
KREMBERG RCM2232,f.14(auto)
JAMES Overture TheEntertainment c.1697-1700 Dm tr,2ob,bsn,2vl, Frenchov. Writt
vla,Bc of the
MANCINISix Overtures
FRANCESCO (Walsh,1724) Sinfonia Hydaspes 1710 D tr,2vl,vla,Bc B,D,F Moder
NICOLA MATTEls Ayresforthe Violin Concerto di 1685 C 3tr Multimovement The fu
(Author, 1685/7), p.76-81 Trombe Tre Tr
LBM: Add.24889, No. 1 Sigr Nicola's c. 1690 one sm
Trumpet Piece surviv
complet
PAISIBLE
JAMES BM: Add.49599, No. 10 Sonata c. 1700 D 2tr,2vl,vla,Bc B,D,F Moder
DANIELPURCELL JudgementofParis Symphony The Judgement of Paris 1700 D 2tr,kdr,2ob,bsn, A,C,D,F
(Walsh,1702), p. 1 2vl,vja,Bc A
BM: Add.49599, No. 14 Sonata c. 1700 Ms cop
LCfm: 23.H. 12, f.123 Symphony The Prize Musick c. 1701 From a
udgementof Paris Trumpet Sonata Thejudgement of Paris 1700 C tr,2vl,vla,Bc B,D,F Moder
(Walsh,1702), p.26
BM: Add.49599, No. 12 Sonata c. 1700 Ms cop
Cfm: 23. H. 12, f.136v Symphony The Prize Musick c. 1700 From a
udgementof Paris The Judgement of Paris 1700 D tr,2vl,vla,Bc B,D,F Moder
(Walsh,1702), p.51
BM: Add. 19599, No.9 Sonata c. 1700 Ms cop
Cfm: 23.H. 12, f.15 1v Symphony The Prize Musick c. 1701 From a
BM: Add.30934, f.36 Trumpett Sonata Again the welcome morn we sing 1700 Identi
(Song on her Royall Highness Paris,p
Birthday)
BM: Add. 15318, f.10 Sym[phony] The Island Princess 1698 D tr,2ob,2vl,vla,Bc B,D,F
Gresham Ms.458, p. 1 Begin the noble song 1698 D 2tr,kdr,2ob, A,D,F Movem
(St Cecilia's Day, 1698) 2vl,vla,Bc ments
Paris,p
RCM Ms.988, f.22 Trumpet Sonata The Grove 1700 C tr,2vl,vla,Bc B,D,F
RCM Ms.988, f.33 Sonata Trumpet The Grove ,, D tr,2ob,2vl,vla,Bc B,D,F
RCMMs.989 (unfoliated) Overture Welcome, glorious day 1698 D tr,2vl,vla,Bc B,F
HENRYPURCELL Purcell's 15 trumpet sonatas are listed and discussed in detail by Smithers (op.cit. p. 205-27)
and Zimmerman: Henry Purcell, An AnalyticalCatalogue of his Music (London, 1963).
WILLIAM
TOPHAM Six sonata's Sonata in Seven 1709 D 2tr,2vl,vla,Bc B,G,F,A In a se
(Op.3,Walsh/Pippard,1709) Parts(No.6) Corell
circum
rival p
graphy
Walsh
1948),
JOHNWELDON Folger Ms.CS.1479,p.7 Sonata TheJudgement of Paris 1700 C tr,kdr,2ob,bsn, B,A,F,B
2vl,vla,bass viol,Bc

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