Robert Walliczek

I-Search Paper

November 4, 2004

The Cornetto

            Renaissance music fascinates me. Therefore, I was pleasantly surprised to find that the Peabody Institute has an Early Music Department. Auditioning for the vocal ensemble was as easy as showing up to a rehearsal, but first, I met with Mr. Webb Wiggins, one of the two directors of the Renaissance Ensembles. When I told him that I was a trumpet major and was interested in singing in the vocal ensemble, he mentioned that the school had a cornetto. I had heard of it before but had never played it. I knew that it was a black-colored instrument with woodwind-like finger holes and a brass-like mouthpiece. Mr. Wiggins loaned me the horn and wrote down the name and phone number of a professional cornetto player who would be able to give me lessons. Before I contact that person for lessons, I would like to obtain more information about the instrument: How do I play the cornetto? Are there any modern performances? Is it really as challenging to play as I have heard? Where can I find the best recordings of cornetto playing? What are some examples of the repertoire? How do I take care of (maintain) the instrument?

            The first person to whom I looked for answers to my questions was Mr. Wiggins. The cornetto was kept in an elongated felt bag, and a dirty mouthpiece was still in the horn, so my first questions were about how I was to clean it. He said the horn was made of wood, and the mouthpiece appeared to be lacquered. I knew enough about wooden instruments that you weren’t supposed to get them wet, and he suggested that I perhaps inquire about using some sort of oil to clean the body of the instrument. He also gave me a box that contained mouthpieces of different shapes. (I liked the mouthpiece which was already on the cornetto.) At a later point, he gave me some cornetto music which he had played when he accompanied a cornetto player. I didn’t pursue the oil-cleaning idea. However, he was clear to distinguish between what he knew and what he suggested. Therefore, I believe he was a helpful and reliable source.

            Jacob Lodico, an oboe and recorder major in the Renaissance Ensemble, was my next resource. When I asked how I should clean the wooden cornetto, he replied, “You don’t.”

“How do you get it clean?” I replied. He said I could just swab it out with a cloth, like a clarinet. I was familiar with this procedure, because both my mother and sister are clarinetists. I resolved to swab out the instrument with a cloth after each use. Jacob was a very reliable and helpful source because he is highly experienced with woodwind instruments.

            I also asked my mother, who is a music educator, about caring for the instrument. I had previously tried using a handkerchief, but it would not fit through the small keyholes and mouthpiece opening. She said I could just use paper towel shreds to wipe out from the small areas any condensation that had accumulated while playing. I must also give credit to John Porter, a Peabody trombone player who had first suggested this idea only a few days before. I was a bit skeptical about lint accumulation from fibers in the paper towels. The fact that my mom suggested the same idea reinforces its validity and usefulness. I spoke with my sister, Terri, on the phone, and she reminded me to blow out from the keyholes any accumulated spit or condensation. All three resources were very helpful and reliable in promoting my knowledge of how to care for the cornetto.

            Now that I knew how to care for the instrument, I needed to know how to play it. I had obtained a fingering chart online. The title of the webpage, “Cornetto in G”, seemed strange; when all the holes are uncovered, you play an A, and when all the holes are covered, you play a Bb. Both notes are in concert pitch. I have not learned why it is said to be “in G”, but I have resolved the question in my mind by assuming that it is related to note-fingering similarities between octaves. For example, the fingering of a G on the staff and a G above the staff—both are in concert pitch—can be the same (West). I could play all the notes indicated on the fingering chart, and I believe they are correct, so this resource was reliable and helpful.

            I asked my lesson teacher for further information about the cornetto. He mentioned the same professional cornetto player who had been previously recommended to me, thus promoting the idea of contacting him. He also asked me if I had tried playing the cornetto off to the side of my mouth. When I couldn’t think of a logical explanation why I would do this, he told me that every early painting showing a cornetto player depicted the musician playing on the side of his embouchure. The tone produced when playing this way suited its original conception of sounding like a voice (Cameron). This was extremely helpful in shaping my idea of how the cornetto should sound, and I believe my teacher to be a very reliable resource.

            I was still curious about the history of the cornetto, so I researched online. One site in particular caught my interest: The Renaissance Cornetto. The page described the development of the cornetto, which materials were used in making the horn, and it described historical and modern conceptions and use of the instrument (Jarratt-Knock). I used this site, as well as a chart detailing the chronology of the trumpet, as references to answer all my remaining questions about the cornetto (Chronology). Both were useful and reliable resources.

            I learned how to play the cornetto, the fact that it had a brief history among elite musicians, the contact information of an instructor, where to get good recordings of the cornetto, and most importantly, how to care for the Peabody Institute’s only cornetto!

 

 

 

 

Resources:

Cameron, Wayne. Personal interview. 29 Oct. 2004.

Chronology of the Trumpet, The. Special supplement to the Feb. 1982 ITG Newsletter, copyright 1982 International Trumpet Guild. Prepared by Bruce Briney, U. of Illinois-Urbana, Urbana, IL 61801. Illustrated by Charles Hooper, Nashville, Tennessee 37212.

Jarratt-Knock, David. “The Renaissance Cornetto”. 30 Oct. 2004. <http://www.cornetto.org.uk/cornetto.html>.

Lodico, Jacob. Personal interview. 13 Oct. 2004.

Walliczek, Lois. Personal interview. 24 Oct. 2004.

Walliczek, Terri. Telephone interview. 22 Oct. 2004.

West, Jeremy. “Cornetto in G”. Christopher Monk Instruments. 27 Oct. 2004. <http://www.jeremywest.co.uk/cmi/fingerings/CornettoinG.html>.

Wiggins, Webb. Personal interview. 30 Sept. 2004.