Event Title
The Role of the Cornet à Pistons in the Early Symphonic Works of Hector Berlioz
Performer / Ensemble
Jeremy McBain (Trumpet), Elena Daughtery (Piano)
Date of Publication
3-26-2021
Document Type
Event
Abstract / Program Notes
It would be easy to assume that Hector Berlioz was fond of the cornet, given how frequently and prominently he wrote for it, but it was actually quite the opposite. His first melodic soprano brass parts were in fact written for the trompette à pistons, an instrument initially rejected by French trumpet players due to their infatuation with the pure sound of the natural trumpet. Berlioz substituted the original trompette à pistons parts of his early symphonic works with a pair of cornets à pistons, which had great popularity in dance orchestras in mid-nineteenth century France. He gave the cornet an important melodic and harmonic role in the brass section of the symphonic repertoire. This presentation will showcase the cornet à pistons, starting with its role in 19th century French popular music, and moving to Berlioz’ influence on the cornet through his symphonic repertoire. The Symphonie Fantastique manuscript dates from 1826 with significant revisions up until 1933, with the exception of the obbligato cornet solo from the 2nd movement. Scholars agree that the obbligato solo was written for a specific concert in May of 1844 at the famous Théâtre Italien featuring the renowned cornet soloist and pedagogue Jean-Baptiste Arban. We will present the premiere of our arrangement of the 2nd movement obbligato solo Un Bal. We will also perform a short piece by Hermann Koenig highlighting the cornet in a popular setting and Fantasie Brillante, by Joseph Forestier, one of the earliest solo pieces for cornet and piano.
Biography
Jeremy McBain joined the music faculty of the University of Texas-Tyler as Assistant Professor of Trumpet in 2015. He previously held faculty positions at Eastern Illinois University, Millikin University (IL), and Saint Mary’s College (IN) and staff positions at Rice University's Shepherd School of Music and the Eastman School of Music. McBain is also active as a freelance trumpeter in Northeast Texas. He joined the Texarkana Symphony as principal trumpet in 2016 and is a member of the Rose City Brass Quintet and Rose City Jazz Orchestra. McBain has also performed with the Bach Society of Houston, Arkansas Symphony, Shreveport Symphony, Baroque Artists of Champaign (IL), Michigan Chamber Brass, and the State Symphony Orchestra of Mexico. McBain was awarded the Doctor of Musical Arts from the University of Illinois in 2012. His doctoral thesis is entitled: "The Role of the Cornet à Pistons in the Early Symphonic Works of Hector Berlioz," which he presented at the 2016 International Trumpet Guild Conference in Anaheim, CA. McBain earned his Master of Music from the University of Michigan and Bachelor of Arts in Music from the University of Houston. His former teachers include James Austin, Charles Daval, and Ronald Romm.
Elena Daughtery, originally from the Czech Republic, is a collaborative pianist at the University of Texas in Tyler. Elena earned her Bachelor of Music and Master of Music from the Northwestern State University of Louisiana as well as Master of Business Administration specializing in Human Resources Management from Louisiana State University in Shreveport. Her teachers include prof. Juraj Masinda, prof. Peter Cerman, Dr. Mark Zeltser and Dr. Nikita Fitenko.
Keywords
cornet à pistons, 19th century French popular music, Hector Berlioz
The Role of the Cornet à Pistons in the Early Symphonic Works of Hector Berlioz
It would be easy to assume that Hector Berlioz was fond of the cornet, given how frequently and prominently he wrote for it, but it was actually quite the opposite. His first melodic soprano brass parts were in fact written for the trompette à pistons, an instrument initially rejected by French trumpet players due to their infatuation with the pure sound of the natural trumpet. Berlioz substituted the original trompette à pistons parts of his early symphonic works with a pair of cornets à pistons, which had great popularity in dance orchestras in mid-nineteenth century France. He gave the cornet an important melodic and harmonic role in the brass section of the symphonic repertoire. This presentation will showcase the cornet à pistons, starting with its role in 19th century French popular music, and moving to Berlioz’ influence on the cornet through his symphonic repertoire. The Symphonie Fantastique manuscript dates from 1826 with significant revisions up until 1933, with the exception of the obbligato cornet solo from the 2nd movement. Scholars agree that the obbligato solo was written for a specific concert in May of 1844 at the famous Théâtre Italien featuring the renowned cornet soloist and pedagogue Jean-Baptiste Arban. We will present the premiere of our arrangement of the 2nd movement obbligato solo Un Bal. We will also perform a short piece by Hermann Koenig highlighting the cornet in a popular setting and Fantasie Brillante, by Joseph Forestier, one of the earliest solo pieces for cornet and piano.