Renaissance- und Barockmusikinstrumente
Grzegorz Tomaszewicz

Renaissance und Barock Cornetto/Cornett und Cornettino

Einer der schönsten Blasinstrumente die von den Menschen konstruiert wurden (meiner Meinung nach) seine Farbe verbindet in sich menschliche Stimme, Oboe und Posaune. Moderne Meister des Instruments wie Wiliam Dongois, Bruce Dickey spielen auf ihm halsbrecherische, virtuosen Stücke. Sein größter Aufschwung wurde im 16 und 17 Jh. aufgezeichnet, doch leider aufgrund von Pest, die in der Europa im 17 Jh. herrschte, starben die größten Virtuosen des Instruments und seit dieser Zeit fing er langsam an in Vergessenheit zu gelangen. Er wurde noch gelegentlich in späteren Jahrhunderten verwendet z B von J.S. Bach und Mendelssohn-Bartholdy

Fingersatz ähnlich einer einfachen Flöte, Stoß wie auf einer Trompete – man verwendete sehr kleine Mundstücke ähnlich groß wie Mundstücke in den Hörnern/ Waldhörnern/.

Er wurde in 4 Großen produziert: Sopran, Alt, Tenor, Bass genannt Serpent

Er erschien in zwei Versionen: gerader und gebogener. Die gebogene Version war meistens mit Leder bezogen, in einer exklusiver Version wurde er ganz aus Knochen hergestellt.

Zink GT wird aus Ahorn-, Pflaumen- oder Birnenholz hergestellt.

Für Musiker mit kleineren Händen produziere ich Zinken mit verschobenen Öffnungen/siehe Foto- cornetto for small hands. Dieser Typ von Zinken hilft die Technik besser zu beherrschen/

Tabelle der Griffe

How temperature affects on height of sound in woodwinds instruments

Recordings

Tutorial

Van Eyck - Dafne

by Gustavo Gargiulo - cornetto, Maria Wilgos - theorb, Karolina Szewczykowska - viola da gamba | All rights reserved – production G. Tomaszewicz

Suzanne un jour - Diminution – Giovanni Bassano (ca. 1588-1617)

by Gustavo Gargiulo – Cornetto, Marek Nahajowski - organs

Suzanne un jour - Orlando di Lasso (1532-1594)

by Gustavo Gargiulo – Cornetto, Early Music Ensamble - Alta

Introitus Benedicta Sit - Mikołaj z Krakowa z Tabulatury Jan z Lublina

by K. Tomaszewski (cornetto) | "Vivat the Polish Commonwealth!" | Trommbastic, Schola Gregoriana Silesiensis, art director: Robert Pozarski

Preambulum in a per h - Jan z Lublina

by K. Tomaszewski (cornetto) | "Vivat the Polish Commonwealth!" | Trommbastic, Schola Gregoriana Silesiensis, art director: Robert Pozarski

Cornetto must be regularly lubricated olive for wind instruments, such as: almond oil, linseed oil, etc. If your instrument will not be oiled, then after some time you may find it has an inferior sound, with more noise, lower notes are played with more difficult.

You must cornetto after intense play, naturally dry but away from stoves, radiators etc .. Avoid keeping it in extreme negative temperatures and positive temperatures.

More about performers

Gustawo Gargiulo
Early Music Ensamble – Alta
Aleksandra Hanus – soprano
Agnieszka Szwajgier – shawm alto
Maria Wilgos – theorbo
Karolina Szewczykowska – viola da gamba

Piotr Dąbrowski – sackbut,
Barbara Brzezińska – organs

Paweł Betley
Recording Director

Fotos:

Zink

Zink fur Musiker mit kleinen Händen

Zink 3-teilig

Baroque cornetto in G, copy after W. Thoma

Renaissance Cornetto in G (Berlin Musical Instrument Museum)

Cornettino muto in d, Cornettino in d

Mouthpieces to Cornettino

Cornetto Curvo g-d", sycamore wood, leather covered Accademia Filharmonica di Verona 16th century

Cornetto in G, covered leather, French model

A few words about using Cornetto

1.
Cornetto must be regularly lubricated olive for wind instruments, such as: almond oil, linseed oil, etc. If your instrument will not be oiled, then after some time you may find it has an inferior sound, with more noise, lower notes are played with more difficult.

2.
You must cornetto after intense play, naturally dry but away from stoves, radiators etc .. Avoid keeping it in extreme negative temperatures and positive temperatures.

3.
The bony mouthpiece must also be cleaned (especially in the middle) also oiled

4.
Like any wooden detective instrument, you have to play it very slowly. In the first week we play – 15 minutes, in the next – 20 minutes, etc.

5.
In this instrument to play well, it is very important to choose a good mouthpiece for your mouth. Each of us is differently built, has a different teeth bite, mouth and therefore we have to find a „mouthpiece“. Unfortunately, sometimes it takes a lot of time.

6.
There is a lot of opinion that the cornetto is a difficult instrument to play due to the small mouthpiece and a big mouth effort. I will not agree with this opinion. Just as there are many schools playing the trumpet from very strong to light, the same is on cornetto. I rather use the method I once talked with W. Dongoise not to press the mouthpiece tightly to my mouth and allow them to vibrate freely. This topic is definitely not simple and requires some time to master it. Undoubtedly, strength playing, on a very tense mouth, causes them to get tired quickly, flat sound, trouble sometimes with intonation. I suggest that you start with a short warm-up of your lips for a few minutes. Put the instrument on for 10-15 minutes and start playing again. In the initial period, do not force lips, play with frequent breaks.

7.
As most of old instruments, also in the case of cornetto we can use interchangeable grips for the same sound. To understand this, it is enough to know additional tricks eg on recorder, because in cornetto we can play very similarly Np sound: c # we can play in the first octave with two closed holes in the right hand but sometimes you also have to close half a third of the hole. Sound: g # in the first octave is sometimes difficult to intonate, to make it more stable we can close some holes in the right hand.

8.
Sometimes musicians who play on a one-piece cornetto have a problem with closing the lowest holes in their right hands, especially when they have small hands. To solve this problem, it may be a cornetto order with shifted holes that will fit into the hand of the musician, cornetto curvo or cornetto 3-part, the lowest part can be turned so that it matches the right hand.

Good luck

How temperature affects on height of sound in woodwinds instruments

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