| Re: Baroque trumpet double tongue: authentic?
Bismantova, in his Compendio of 1677, spoke of modern-style double tonguing, giving the example of de-ghe de-ghe. Though he was illustrating articulations on the cornetto, he was perhaps the first to acknowledge that “brass” instruments require an articulation that produces more compression than those associated with wind instruments such as recorders (dalla Casa’s lere lere and dere dere) As a cornetto player, I find dere or tere (like saying “today” or “tada” though with the accent on the first syllable) most effective for moderate tempo passage work. (It is also particularly effective on the baroque/natural trumpet, and you can indeed flick off two sixteenth notes a la the Christmas Oratorio quite handily: ta-tada ta-tada ta...) Lere or the “didl” articulation I only use on the fastest passaggi and trills (yes, in the early 17c trills were articulated!)
As odd as some of these articulations may seem, thay actually work. Try them, and even if you can't make heads or tails of them one day it'll click in and open up a whole new world making the music speak. (Actually having something to say with the music is another matter)
Fantini as well, in his Modo of 1638 illustrates teghe teghe for repeated as well changing-pitch sixteenth notes.
And as Rowuk noted, Altenburg also prescribed (though considerably later, in 1795) so called double tonguing.
I suppose you can’t get much better historical justification than that.
What ever the articulation employed, one would be well advised to be mindful of both the effect and the affect of the music - it is music after all, not merely an excerpt to be conquered. There’s nothing more obnoxious than an over articulated brass part. Not every baroque work with trumpets, however glorious, was intended to be a trumpet concerto.
Best Wishes
Dr.Z |