Johann Altenburg's treatise on the art of trumpet and kettledrumming is the most comprehensive work of his time on Baroque trumpet playing, music, and even lifestyles of professional players. Although the title would lead one to believe the same information on the kettledrummer's art is within, the essay only includes one full chapter on the subject. However, compared to Praetorius and Mersenne, Altenburg's essay has a wealth of information on drumming as well. What will be attempted here, however, is a focus on the trumpet, with a discussion of each chapter and an examination of the salient points. It is hoped that this will serve as a guide to the information contained in Altenburg's work, and as an aid to anyone studying the trumpet of the Baroque.

The state of research in this area is really quite good, probably due in part to the large number of people who play trumpet today and their interest in music from the Baroque. There are a great many books that have been published on all aspects of Baroque music, with several focusing on trumpet in particular. In addition, many papers and dissertations have been published on the subject in the last 50 years or so. Unfortunately, primary sources from the 18th century that offer instruction on playing such as Altenburg's are almost non-existent, due in part to the guild's protecting the release of privileged information. A representative list of these sources can be found in the bibliography at the end of this paper.

Johann Ernst Altenburg learned the "Heroic and Musical Trumpeter's Art" from his father, Johann Casper Altenburg. He was apprenticed to his father in Weissenfels, Germany (near Leipzig) on August 1, 1736, when he was just two years old. Sixteen years later, he passed his performance examination in the presence of court and field trumpeters, and was granted release from his apprenticeship, thereby acknowledged as an accomplished trumpeter. This relationship of master and apprentice is discussed fully in the chapter "On the Advantages of the Trained Brethren-in-Art in Particular", but suffice it to say, J. E. Altenburg was at the center of the professional trumpeter's world in the late 1700's. His viewpoint of the art is therefore extremely valuable.

The essay is dedicated to Friedrich August, Duke of Saxony, Juliers, etc., Archmarshal and Elector of the Holy Roman Empire, Landgrave of Thuringia, etc. Altenburg's stated purpose was to write a book that would promote more extensive teaching of the trumpeter's and kettledrummer's art (although guild laws might have prevented this very thing, as will be discussed later), and allow more musicians to understand the scope of the art. In Altenburg's preface to the essay, he laments the decline of the art, without going into specifics. One should therefore consider the period during which he was writing, in which great social, political, and artistic changes were taking place worldwide. There are always those who wish for the "good old days" at such times, and Altenburg was no exception.

He then gives credit to those writers who have gone before him on the subject of trumpets and kettledrums, listing about 30 old and contemporary sources, a gold mine for any researcher on this subject. He also humbly suggests that his own work is the first to encompass the complete art, with everything pertaining to it. In this he is correct, as one can see by reading the chapter titles, as follows:

1. On the Origin, Invention, and Nature of the First Trumpets, as Well as the Various Kinds, Names, and Forms Thereof.

2. On the Ancient Usage of the Trumpet, and the Dignity and Advantages which Trumpeters Have Always Enjoyed.

3. On the Present-Day Usage, Benefit, and Effect of the Trumpet.

4. On the Advantages of the Privaleged Trumpeters and Kettledrummers in General.

5. On the Advantages of the Trained Bretheren-in-Art in Particular.

6. On the decline and Misuse of the Art.

7. On Famous Trumpeters, Past and Present.

8. On the Various Sounds of the Trumpet, the Intervals, and the Relationships Thereof.

9. On the Mouthpiece, Tuning Bits or Shanks, Crooks, and the Mute.

10. On the Heroic Field Pieces, Principal Playing, and Playing at table, as well as on So-called Tonguing and Huffing.

11. On Clarino Playing and the Style of Execution Required Thereby.

12. On the Structure and Nature of Trumpet Pieces.

13. On Trumpet Ornaments.

14. On the requirements and Duties of Teacher and Pupil.

15. Some Suggestions as to How a Teacher Might Appropriately Instruct His Pupil.

16. On Kettledrums.

The appendix is actually a concerto Altenburg included for two choirs of three trumpets each, along with soloist and timpani (kettledrum). It is not known if this was an original composition of his, but it is interesting that it fits perfectly his description in ch.12 of the "table sonata", which would have been played for the enjoyment of the "high gentry" at the dinner table. This musical example (along with others) is probably what Altenburg refers to in the title as "Illustrated with Examples", since only two iconographic illustrations are included: the mounted trumpeters and kettledrummers displayed on the end page, and a sketch in ch. 9 of J. C. Altenburg's favorite mouthpiece. Mr. Tarr's translation, however, includes twelve different photos and engravings with the original, along with citations.

The 1st chapter traces the trumpets history to the ancient Egyptians, Hebrews, and Etrucans. He gives footnotes for his information, but rarely uses primary sources, so one should take the information with that in mind. He does, however, admit that the trumpet's origins are difficult to pin down, and even suggests Oriental possibilities. It is interesting how he dates the different textual references, using not our present "B. C." method for ancient history, but a yearly timeline dating from the creation of the world by God, the "year of the world". Many different types of trumpets are described from all over the world, from Siam to the East Indies, and even Mongolia. He also describes the different alloys of silver and brass that work best, and mentions in passing that trumpets of different manufacturers (of his day) rarely play perfectly in tune with one another. Furthermore, he recommends a trumpet with thin metal for high clarino playing, and thick metal for field pieces.

In the final part of this chapter he describes the "first class" trumpet of his day, namely the choir-pitched German trumpets in "C". He specifically recommends the instruments of J. W. Haas of Nuremberg, which is valuable information for anyone examining trumpets of that day, and what would have been considered a fine, professional instrument. In addition, he describes how chamber-pitched trumpets sound a tone lower (presumably in "Bb", or thereabouts), and gives short descriptions of "F" or French Trumpet, "G" or English trumpet, the coiled Italian trumpet, slide trumpet, clarinet (clearing up any confusion about its name, since it means "little trumpet"), marine trumpet (a stringed instrument), and even the inadequacy of the tone of the organ's trumpet stop.

In chapter 2, Altenburg describes with great detail the usage of the trumpet by the ancient Hebrew priests, being careful to point out that only priests were allowed to play them. He also discusses briefly its use by the Greeks, Romans, and Celts. What is striking in all of this is his precision in describing only the exalted use of trumpet, never base or common use. Apparently he is trying to create an impression of regal precedent for trumpet, in order to impress his intended readership (most likely the nobility) with the importance of continuing such exalted status. More of this bias can be seen in later chapters.

Chapter 3 begins with a brief comparison of old playing techniques with new, and gives an excellent description of how clarino playing was accomplished. He also mentions in passing that trained trumpeters and kettledrummers were not allowed to play with untrained musicians (i.e., non-guild players), even if it is in church. A heavy fine would be levied, unless they used an instrument other than trumpet or kettledrum. The translator gives an excellent footnote to this, in which he mentions that this prohibition was often disregarded (to Altenburg's chagrin, to be sure), especially in the case of Johann Christoph Pezel and Gottfried Reich, who were famous Leipzig city pipers that also played trumpet for J. S. Bach.

Altenburg continues his quest to preserve the elevated status of trumpeters in ch. 4, where he describes the duties and privileges of both field and court musicians. In general, the impression one gets is that Altenburg is trying to appeal to the noble reader's vanity in describing the affection of the public for a "grand sovereign" who displays one or two choirs of trumpeters and kelltledrummers at public occasions. He even goes so far as to say that the ruler who lacks such is missing something in the "perfection of his household".

The duties of the court trumpeters and kettledrummers are then listed, both musical and mundane, such as caring for a horse. He briefly describes city, regional, and field trumpeters. This chapter has especially valuable information on how and where these musicians were used, and what types of music they played.

In chapter 5, Altenburg continues to try and elevate the readers impression of his art by describing the various chapters or Imperial Privileges that were granted for 167 year up to the publication of his essay. One might be surprised to learn from this that in Altenburg's Germany an Imperial trained trumpeter or kettledrummer held rank equal to an officer, and were supposed to be treated as knights. He then lists the requirements for taking on an apprentice, and the duties of trumpet apprentices. His own letter of release from apprenticeship is included, giving a clear picture of the solemnity with which such an honor was given. Their pay scale is then described, along with that for players in France, England, Denmark, and Holland. An exciting end to this chapter is his description of how to conduct oneself as a field trumpeter assigned to take dispatches to the enemy, using his own personal experience as an example. Unlike modern military trumpeters, Baroque field trumpeters "easily" ran the risk of being shot dead.

Chapter 6 then continues the theme of ch.5, rather than going in depth into the "Decline and Misuse of the Art". Instead, he spends most of the pages listing edicts and prohibitions that were not always being honored. Perhaps in Altenburg's mind the art would flourish again if people would only obey the rules! Unfortunately, as history has shown, it can sometimes be these same rules that stifle an art. The guild laws that he describes are so prohibitive that only the best connected students could hope to gain an apprenticeship. Furthermore, the edicts so stringently prevented commoners from taking up the instrument (upon pain of heavy fines) that it is no wonder that the art was not "taught more extensively", as Altenburg lamented in the preface to the essay. In addition, with the privileges described in ch. 4 that they enjoyed, it is probable that the declining nobility could rarely afford them any longer. To many people, this situation might seem similar to that sometimes created by modern musician unions that occasionally put musicians out of work by demanding pay increases and benefits from financially strapped orchestras that then chose to go with non-union players, or go out of business entirely. He does admit that many courts no longer support official trumpeters and kettledrummers, but doesn't address any of the social and political upheavals of the time that contributed to this. Once again, it would appear that his audience for this essay is really the nobility, since it would have been in poor taste (and possibly dangerous!) to remind his noble readers of their present shortcomings.

In the next chapter, Altenburg lists famous trumpeters from as far back as ancient Greek and Hebrew times. With the more contemporary players, he includes a listing of any tutors or musical works they have published. He does list one kettledrummer, out of thirteen total musicians listed.

The remaining chapters deal with the practical aspects of teaching and playing. This section is especially valuable to anyone examining performance practice of the Baroque. The first chapter of this section, ch.8, deals with the sound of the instrument, the staff, problem notes, chromatics, tuning, musical intervals, and the trumpet's relationship to the intervals. He explains the formation of the embouchure in the barest of terms, possibly to protect guild secrets. In discussing the staff, he makes a curious suggestion to place all the trumpet harmonics in ascending steps on the staff, regardless of intervals. Apparently, he felt a more compact staff would be easier to read. Obviously, this idea never caught on. In addition, he contradicts his own idea when at the end of the section on intervals he praises how Art and Nature themselves have given us the staff which so readily shows the different intervals he has just described. Finally, he describes the relationships of the intervals to each other, drawing heavily upon Mattheson's work, whom he does give credit to. In addition, he recommends Sorge's Anleitung zur Rationalrechnung and Marpurg's Anfansgrh nde der theoretischen Musik for further study.

The next chapter, ch.9, has very good information on some of the mechanical aspects of playing trumpet at that time. Altenburg describes different mouthpiece rims and cups and the playing results of each, and even includes a sketch of his father's mouthpiece. He advocates getting used to one mouthpiece and then staying exclusively with that, something trumpet players are notorious for not doing today. Next he describes how various tuning bits can be used to adjust horns to each other, and even to change the key of the instrument. It is here that he explains choir and chamber pitch, with most instruments tuned to chamber pitch, one whole tone lower than choir pitch. He then states, however, that a "Bb" in choir pitch sounds the same as a "C" in chamber pitch, which is somewhat confusing. Perhaps he is referring to a trumpet in "Bb" calling their fundamental tone a "C", as "Bb" trumpets do today. In any event, one must keep in mind that these instruments were not tuned to our common standard of "A" = 440, and so any discussion of fundamental pitch is relative. Lastly, he describes various mutes and how to use them.

Chapter 10 has a wealth of information on all types of pieces played by court and field trumpeters, and reveals trade secrets of tonguing. Many more syllables were used than are used today, such as "ri-ti-ri-ton" and "ton-ri-ti-ri". He also describes a type of breath accent or air pulse articulation called "huffing" when used to change notes, and "beating" when done without changing notes. This has also fallen into disuse today, but can be heard on some period style recordings.

Clarino playing is described again in ch. 11, but with instructions on how to form the embouchure (albeit scant), and rules on the proper execution thereof. Very specific and valuable information is given on how the Baroque player would best execute rapid passages, emphasize principle and passing tones, when to tongue and when to slur (since the composer didn't always specify), dynamics, tempo, and stylistic marking interpretation.

Chapter 12 begins by clarifying Altenburg's definition of trumpet music, namely, that which is a short composition written for two or more trumpets, without kettledrums. According to him, a good composition has regular phrases, avoids out of tune notes, and has a "good flowing melody". It is here that we see printed examples of the music being described, with no less than 7 short pieces illustrated. Although it is not made clear, it is safe to assume that the music printed in this translation is of modern typesetting, since it looks very "petrucci" and has certain revisions within, as listed by the translator on page 140. At the end of this chapter, Altenburg describes a new trumpet created by a certain K` lbel which had tone holes, and could play chromatically. This was apparently the beginnings of the keyed trumpet, and was described as being worthy of careful consideration. Indeed!

Trumpet ornaments are discussed next in ch. 13, with explanations of how to do each one, and with musical illustrations. Great detail is given here, and would be especially valuable to any performer of music from this period. It is also curious to see the "bebung" or "schwebung", which no longer used today.

Chapter 14 lists the duties of both teachers and pupils. A teacher was expected to play the violin, as well as giving good moral standards and social skills. This last part makes more sense upon reading ch.15, where different lessons are described. One then sees that the pupil was with the teacher constantly, morning and afternoon. Apparently this then would require the teacher to cover all aspects of a well rounded education for that day, not just playing techniques. The pupil is also instructed to avoid playing any other wind instruments, especially the French transverse flute. This is understandable, but not the prohibition against eating immediately before playing or drinking cold liquids after, since Altenburg was sure that either of those dangerous practices could result in an incurable illness!

The final chapter then is on the history and techniques of playing the kettledrums. One musical example is given, along with descriptions of the various types of beatings. An interesting aside is when he states that if a military regiment lost their drums in battle, they were then prohibited by the rules of war from carrying any again, unless they were to capture another pair from the enemy. This must have made for some interesting involvement of musicians in battles of that day.

The following appendix, as stated earlier, is a composition that is possibly by Altenburg, and is one of the greatest gifts of this important essay. It is entitled Concerto a VII Clarini con Tymp., and is about 125 measures long in three movements. In addition, he gives a field piece (a march), and a short minuetto. But by far the greatest contribution of Altenburg is his window into the world of the 18th century trumpet player in Germany, where in attempting to save or revive his profession, he gives insight into how trumpet music was used and performed, and even how the players fit into the social structure of the day. Any student of the Baroque, trumpet player or not, will benefit from the study of this important essay.

Bendinelli, Cesare. Tutta L'artre della Trombetta. Ms., Verona, 1614. Trans. and ed. by

Edward Tarr as The Entire art of Trumpet Playing. Nashville: Brass Press, 1975.

Labella, P. The Transition from Natural Trumpet to Valve Trumpet, dissertation:

Eastman School of Music, Rochester, NY, 1948.

Smithers, D. The Music and History of the Baroque Trumpet Before 1721. London, 1973.

Smithers, D. "The Trumpets of J. W. Haas", GSJ, xviii, 1965.

Tarr. E. H. "The Baroque Trumpet, the high trumpet, and the so-called Bach Trumpet",

Ticomb, C. "Baroque Court and Military trumpets and Kettledrums: Technique and

Music", Galpin society Journal, ix, 1956.

Weber, G. "Ueber Ventihorn und Ventitrompete mit drei Ventilen", Caecilia, xvii .Manz, 1835.