{"id":1337,"date":"2017-12-13T16:13:33","date_gmt":"2017-12-13T16:13:33","guid":{"rendered":"http:\/\/www.ripm.org\/cnc\/?p=1337"},"modified":"2018-02-09T21:33:12","modified_gmt":"2018-02-09T21:33:12","slug":"the-ophicleide","status":"publish","type":"post","link":"https:\/\/www.cnc.ripm.org\/?p=1337","title":{"rendered":"The Ophicleide"},"content":{"rendered":"<p style=\"text-indent: 2em;\">What do Hector Berlioz, Felix Mendelssohn, Giuseppe Verdi, Sir Arthur Sullivan, and Richard Wagner have in common? They all composed for the ophicleide! Patented in 1821 by French instrument maker\u00a0Jean Hilaire Ast\u00e9, the ophicleide was used in military bands and orchestras well into the 20<sup>th<\/sup>-century, though it has now been\u00a0largely superseded by the tuba.\u00a0 Moreover, author, composer, and organist Dr. Orlando Mansfield described this instrument as &#8220;ugly&#8221; and &#8220;curious&#8221; in a 1929 issue of <em>The New Music Review and Church Music Review.<\/em><\/p>\n<p style=\"text-align: center;\"><span style=\"font-size: 70%;\"><em><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-1397 size-full\" src=\"http:\/\/www.ripm.org\/cnc\/wp-content\/uploads\/2017\/12\/5b-ophicleide.jpg\" alt=\"\" width=\"348\" height=\"270\" srcset=\"https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/5b-ophicleide.jpg 348w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/5b-ophicleide-300x233.jpg 300w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/5b-ophicleide-296x230.jpg 296w\" sizes=\"auto, (max-width: 348px) 100vw, 348px\" \/>The New Music Review and Church Music Review,\u00a0<\/em>Vol. 28 No. 335 (October 1929): 407.<\/span><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1340 size-full aligncenter\" src=\"http:\/\/www.ripm.org\/cnc\/wp-content\/uploads\/2017\/12\/2a-Ophicleide.jpg\" alt=\"\" width=\"463\" height=\"834\" srcset=\"https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/2a-Ophicleide.jpg 463w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/2a-Ophicleide-394x710.jpg 394w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/2a-Ophicleide-167x300.jpg 167w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/2a-Ophicleide-128x230.jpg 128w\" sizes=\"auto, (max-width: 463px) 100vw, 463px\" \/>An early image of an ophicleide designed by instrument makers Griesling &amp; Schott.<br \/>\n<span style=\"font-size: 70%;\"><em>Berliner allgemeine musikalische Zeitung<\/em>, Vol. 6 No 2 (10 January 1829): [1S] 16\/17.<\/span><\/p>\n<p style=\"text-indent: 2em;\">Hector Berlioz wrote briefly about the ophicleide in his <em>Grand trait\u00e9 d\u2019instrumentation et d\u2019orchestration modernes.\u00a0 <\/em>This text was later translated and reprinted in <em>Dwight\u2019s Journal of Music.<\/em><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-1342 size-full\" src=\"http:\/\/www.ripm.org\/cnc\/wp-content\/uploads\/2017\/12\/6-Ophicleide.jpg\" alt=\"\" width=\"311\" height=\"357\" srcset=\"https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/6-Ophicleide.jpg 311w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/6-Ophicleide-261x300.jpg 261w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/6-Ophicleide-200x230.jpg 200w\" sizes=\"auto, (max-width: 311px) 100vw, 311px\" \/> <span style=\"font-size: 70%;\"><em>Dwight&#8217;s Journal of Music,\u00a0<\/em>Vol. 10 No 22 (28 February 1857): 170.<\/span><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-1343 size-large\" src=\"http:\/\/www.ripm.org\/cnc\/wp-content\/uploads\/2017\/12\/1-ophicleide-1024x701.jpg\" alt=\"\" width=\"1024\" height=\"701\" srcset=\"https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/1-ophicleide-1024x701.jpg 1024w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/1-ophicleide-650x445.jpg 650w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/1-ophicleide-300x205.jpg 300w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/1-ophicleide-336x230.jpg 336w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/1-ophicleide.jpg 1245w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/>An illustration of an ophicleide with a fingering chart and compass.<br \/>\n<span style=\"font-size: 70%;\"><em>C\u00e4cilia<\/em>, No. 34 ([1828]): [1S] 128\/29.<\/span><\/p>\n<p style=\"text-indent: 2em;\">Berlioz selected this &#8220;monstrous&#8221; \u201cbull\u201d of an instrument to feature prominently in the fifth movement of his <em>Symphonie fantastique.\u00a0 <\/em>When<em>\u00a0<\/em>paired with its bass wind instrument cousin, the serpent, the duo creates an ominous atmosphere when performing the Medieval Latin hymn, \u201cDies Irae\u201d. Let&#8217;s listen to it.<\/p>\n<div style=\"text-align: center;\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/lZzr4xXPeyw?rel=0&amp;start=1&amp;end=57\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<div><\/div>\n<\/div>\n<p style=\"text-indent: 2em;\">Nevertheless, the ophicleide\u2019s &#8220;growl, grunt, or roar&#8221; led it to be the subject of humorous caricatures and some pointed comments in the press.<\/p>\n<p style=\"text-align: center;\"><span style=\"font-size: 70%;\"><em><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-1398 size-full\" src=\"http:\/\/www.ripm.org\/cnc\/wp-content\/uploads\/2017\/12\/7b-Ophicleide.jpg\" alt=\"\" width=\"615\" height=\"157\" srcset=\"https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/7b-Ophicleide.jpg 615w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/7b-Ophicleide-300x77.jpg 300w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/7b-Ophicleide-540x138.jpg 540w\" sizes=\"auto, (max-width: 615px) 100vw, 615px\" \/>The Musical World,\u00a0<\/em>Vol. 9 No. 208 (23 December 1841): 404.<\/span><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-1345 size-full\" src=\"http:\/\/www.ripm.org\/cnc\/wp-content\/uploads\/2017\/12\/3-Ophicleide.jpg\" alt=\"\" width=\"920\" height=\"854\" srcset=\"https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/3-Ophicleide.jpg 920w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/3-Ophicleide-650x603.jpg 650w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/3-Ophicleide-300x278.jpg 300w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/3-Ophicleide-248x230.jpg 248w\" sizes=\"auto, (max-width: 920px) 100vw, 920px\" \/>This caricature depicts, in a refreshing manner, the ophicleide as brazen and powerful.<br \/>\n<span style=\"font-size: 70%;\"><em>L\u2019Illustration<\/em>, Vol. LXXXII (28 July 1883): 61.<\/span><\/p>\n<p style=\"text-indent: 2em;\">In fact, the effort required to produce a sound on the instrument even led some to speculate that it could cause health problems.<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-1347 size-full\" src=\"http:\/\/www.ripm.org\/cnc\/wp-content\/uploads\/2017\/12\/8-ophicleide.jpg\" alt=\"\" width=\"650\" height=\"377\" srcset=\"https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/8-ophicleide.jpg 650w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/8-ophicleide-300x174.jpg 300w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/8-ophicleide-397x230.jpg 397w\" sizes=\"auto, (max-width: 650px) 100vw, 650px\" \/> <span style=\"font-size: 70%;\"><em>The Musical World,\u00a0<\/em>Vol. 9 No. 196 (30 September 1841): 215.\u00a0<\/span><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-1348 size-full\" src=\"http:\/\/www.ripm.org\/cnc\/wp-content\/uploads\/2017\/12\/4-Ophicleide.jpg\" alt=\"\" width=\"691\" height=\"801\" srcset=\"https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/4-Ophicleide.jpg 691w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/4-Ophicleide-612x710.jpg 612w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/4-Ophicleide-259x300.jpg 259w, https:\/\/www.cnc.ripm.org\/wp-content\/uploads\/2017\/12\/4-Ophicleide-198x230.jpg 198w\" sizes=\"auto, (max-width: 691px) 100vw, 691px\" \/>Caricatures also depicted the large size of the instrument itself.<br \/>\n<span style=\"font-size: 70%;\"><em>L\u2019Illustration<\/em>, Vol. XXV (4 February 1860): 77.<\/span><\/p>\n<p style=\"text-indent: 2em;\">While the ophicleide may have developed a reputation for being unwieldy and odd, a small community of musicians continues to perform on this unusual instrument. Some, like the Sydney Ophicleide Quartet, achieve an admirable level of tonal beauty and virtuosity.<\/p>\n<div style=\"text-align: center;\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/GG5pbPcXnC0?rel=0&amp;start=37&amp;end=99\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<p style=\"text-align: left;\"><u>RIPM search tip:<\/u>\u00a0To read more anecdotes and reviews of the ophicleide, search \u201cophicleide\u201d as a keyboard in RIPM\u2019s Retrospective Index and <em>e<\/em>-Library of Music Periodicals.<\/p>\n<p style=\"text-align: left;\">Click\u00a0<a href=\"http:\/\/ripm.org\/?page=cncsubscribe\">here<\/a>\u00a0to\u00a0subscribe to RIPM\u2019s\u00a0<em>Curios, News, and Chronicles!\u00a0<\/em><\/p>\n<p style=\"text-align: left;\">When is our next posting?\u00a0To find out, follow us on\u00a0<a href=\"https:\/\/twitter.com\/RIPMCenter\">Twitter<\/a>\u00a0and\u00a0<a href=\"https:\/\/www.facebook.com\/RIPMCenter\/\">Facebook<\/a>!<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>What do Hector Berlioz, Felix Mendelssohn, Giuseppe Verdi, Sir Arthur Sullivan, and Richard Wagner have in common? They all composed for the ophicleide! Patented in 1821 by French instrument maker\u00a0Jean Hilaire Ast\u00e9, the ophicleide was used in military bands and orchestras well into the 20th-century, though it has now been\u00a0largely superseded by the tuba.\u00a0 Moreover, [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[],"class_list":["post-1337","post","type-post","status-publish","format-standard","hentry","category-curioschronicles"],"_links":{"self":[{"href":"https:\/\/www.cnc.ripm.org\/index.php?rest_route=\/wp\/v2\/posts\/1337","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.cnc.ripm.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cnc.ripm.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cnc.ripm.org\/index.php?rest_route=\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cnc.ripm.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1337"}],"version-history":[{"count":59,"href":"https:\/\/www.cnc.ripm.org\/index.php?rest_route=\/wp\/v2\/posts\/1337\/revisions"}],"predecessor-version":[{"id":1416,"href":"https:\/\/www.cnc.ripm.org\/index.php?rest_route=\/wp\/v2\/posts\/1337\/revisions\/1416"}],"wp:attachment":[{"href":"https:\/\/www.cnc.ripm.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1337"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cnc.ripm.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1337"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cnc.ripm.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1337"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}