Very Early Besson Cornet with Rotary Valves
This cornet was entrusted to me for repairs and cleaning by
Connecticut trombonist Ken Andresen. It was given to him by a friend
of his. I suspect that he was a very good friend, but I'm pretty sure
that he didn't have any idea of the significance of the gift. Current
research indicates likelihood that this is the second oldest Besson
instrument known and the earliest made at his second address, rue des
Trois Couronnes No. 7, which he moved to in approximately 1845.
To restate that point, it was likely made in the mid- to late 1840s. This
was a era of much experimentation in the field of brass instruments and
valve cornets had been around for less than a decade, only beginning to
gain popularity in military and popular music. The form of the cornet
was not yet firmly standardized even within France and the major
French makers were experimenting with rotary valves as well as
various piston valves that were to prove more popular there. This is
the only known rotary valve cornet made by Besson known. As
always, I invite any additions and corrections to the information that I
present here.
This instrument is certainly in remarkably well preserved condition
after over 160 years and there is no reason to doubt that the extant
shanks, crooks and case are original. The mouthpiece appearing in
some of the photos is not original, however, and the spots in the case
give clues that it likely also had two bits and a mouthpiece or one bit
and two mouthpieces when new. The shanks and crooks are typical of
French cornets for many years to come, allowing to play in Bb, A, Ab,
G, F and Eb. Over all length with mouthpiece removed is 11 3/4", the
bell rim diameter is 4 7/8" and the bore measures .434".
When I first examined this instrument, I felt strongly that the silver
plated finish was not original. Silver plating had been invented decades
earlier and major improvements to the process were patented in 1840,
so it was possible that it was original. But I saw what I thought were
strong clues as to the silver being applied later such as some crude
appearing work that was obviously done before the plating was
applied. Some of the curved tubing is a little rough as is scraping
around solder joints. Also, silver plating is deposited on interior
surfaces of the valves and slides and on the entire rotors as well. This
is commonly seen on instruments refinished in the 19th century. While
working on this cornet, it became clear that every solder joint has the
same rough scraping, all lengthwise, and not just those that might have
been repaired. More closely examining the curved tubes, I tried to
differentiate the obvious damage from flaws that might have occurred
in the original bending process. I've examined thousands of brass
instruments during my career and while I probably have a much better
understanding of what I'm observing than most, I have only worked on
a very small number (probably less than 20) of valved instruments
made before 1850. The first half of the 19th century was a time of
great strides in technology and industry, when it was possible for the
first time to make valves that were both air tight and easily moved by
the touch of a finger, but few examples have survived in such good
condition. I've restored 30 or so keyed bugles and I'm accustomed to
workmanship of the build being less refined (on both early fine
instruments and later inexpensive examples) than on valve brass, but
hadn't given much thought to the fact that it was often the same shops
producing the earliest of those. All techniques would be the same for
both, other than parts of the valve mechanism and I want to clarify
what is seen in the scraper marks that I mentioned. The most common
technique for smoothing the surface of tubing, including bells was with
a hand scraper in a lengthwise motion, similar to the scraping technique
used on wood furniture surfaces. In later years, it became common to
polish the parts before mounting (soft soldering the assemblies
together), but previously, and for centuries, the parts were mounted
immediately after scraping. It would then be handed to an apprentice
to use an abrasive polish, further smoothing the surface, including right
up to the edges of soldered joints and areas that were hard to reach.
This probably took several hours of work and on this cornet was not
done thoroughly in those hard to reach areas.
We are especially fortunate that the valve mechanism on this cornet
has survived with little wear. The design of this is also somewhat
archaic when compared with rotary valves made in the next decade by
those that made a specialty of them. The separate valve stop arm and
actuating arm make for a more complicated build and would more
easily become unserviceable from wear and damage than a simpler
design. The extra clamping screw in the stop arm assemblies, opposite
the arms seemed to be added later, but again, close examination
indicate that they are also part of the original design, keeping the more
familiar retaining screw from causing them to bind against the cork
chamber cap. The bearing surfaces on both ends of the rotors are very
short and would wear out much more quickly than all later rotary valve
designs. These, too, are in very good working order. The articulation
between the valve levers and push rods are riveted together and not
really repairable as they wear, causing much noise that can be partially
silenced with thick oil. Oil wasn't often used on musical instruments at
that time; the common choices were vegetable and animal oils, which
oxidize and solidify with age. The likely uses were more for rust
prevention on the steel parts rather than lubrication as we are
accustomed to. Also worth noting is the design of the knuckles (short,
curved tubes) that attach to the valve casings. The inner bend is an
abrupt 90 degree bend as seen on almost all American made rotary
valve instruments made before 1865 and many early German and
Austrian examples. Later instruments, at this inside turn, have two
short 45 degree bends or an actual curve. I haven't made a study of
the European made instruments to know if this was the most common
in the earliest of them or varied from maker to maker.
While I can't draw a firm conclusion on the question of originality of
the silver plating, another bit of positive evidence is the decorative
engraving. This is very rare on early French instruments, even by the
end of the 19th century. While products of Adolphe Sax's shop were
engraved with words in a large and very bold script akin to John
Hancock's signature on the Declaration of Independence, even these
had no additional decoration beyond Sax's trademark monogram. The
obvious question is what was the reason for the unusual treatment of
finish and decoration. We know that Besson exhibited instruments in
major international exhibitions including 1844 Paris (probably before
this was made), the 1851 London Crystal Palace Exhibition and again
in Paris in 1855. At this point it would only be a wild speculation to
imagine this as one of the instruments specially prepared for one of
those shows. I have not been able to find a list of the instruments that
Besson exhibited at the Crystal Palace, but I'm sure that it exists
somewhere.
To be continued...
Connecticut trombonist Ken Andresen. It was given to him by a friend
of his. I suspect that he was a very good friend, but I'm pretty sure
that he didn't have any idea of the significance of the gift. Current
research indicates likelihood that this is the second oldest Besson
instrument known and the earliest made at his second address, rue des
Trois Couronnes No. 7, which he moved to in approximately 1845.
To restate that point, it was likely made in the mid- to late 1840s. This
was a era of much experimentation in the field of brass instruments and
valve cornets had been around for less than a decade, only beginning to
gain popularity in military and popular music. The form of the cornet
was not yet firmly standardized even within France and the major
French makers were experimenting with rotary valves as well as
various piston valves that were to prove more popular there. This is
the only known rotary valve cornet made by Besson known. As
always, I invite any additions and corrections to the information that I
present here.
This instrument is certainly in remarkably well preserved condition
after over 160 years and there is no reason to doubt that the extant
shanks, crooks and case are original. The mouthpiece appearing in
some of the photos is not original, however, and the spots in the case
give clues that it likely also had two bits and a mouthpiece or one bit
and two mouthpieces when new. The shanks and crooks are typical of
French cornets for many years to come, allowing to play in Bb, A, Ab,
G, F and Eb. Over all length with mouthpiece removed is 11 3/4", the
bell rim diameter is 4 7/8" and the bore measures .434".
When I first examined this instrument, I felt strongly that the silver
plated finish was not original. Silver plating had been invented decades
earlier and major improvements to the process were patented in 1840,
so it was possible that it was original. But I saw what I thought were
strong clues as to the silver being applied later such as some crude
appearing work that was obviously done before the plating was
applied. Some of the curved tubing is a little rough as is scraping
around solder joints. Also, silver plating is deposited on interior
surfaces of the valves and slides and on the entire rotors as well. This
is commonly seen on instruments refinished in the 19th century. While
working on this cornet, it became clear that every solder joint has the
same rough scraping, all lengthwise, and not just those that might have
been repaired. More closely examining the curved tubes, I tried to
differentiate the obvious damage from flaws that might have occurred
in the original bending process. I've examined thousands of brass
instruments during my career and while I probably have a much better
understanding of what I'm observing than most, I have only worked on
a very small number (probably less than 20) of valved instruments
made before 1850. The first half of the 19th century was a time of
great strides in technology and industry, when it was possible for the
first time to make valves that were both air tight and easily moved by
the touch of a finger, but few examples have survived in such good
condition. I've restored 30 or so keyed bugles and I'm accustomed to
workmanship of the build being less refined (on both early fine
instruments and later inexpensive examples) than on valve brass, but
hadn't given much thought to the fact that it was often the same shops
producing the earliest of those. All techniques would be the same for
both, other than parts of the valve mechanism and I want to clarify
what is seen in the scraper marks that I mentioned. The most common
technique for smoothing the surface of tubing, including bells was with
a hand scraper in a lengthwise motion, similar to the scraping technique
used on wood furniture surfaces. In later years, it became common to
polish the parts before mounting (soft soldering the assemblies
together), but previously, and for centuries, the parts were mounted
immediately after scraping. It would then be handed to an apprentice
to use an abrasive polish, further smoothing the surface, including right
up to the edges of soldered joints and areas that were hard to reach.
This probably took several hours of work and on this cornet was not
done thoroughly in those hard to reach areas.
We are especially fortunate that the valve mechanism on this cornet
has survived with little wear. The design of this is also somewhat
archaic when compared with rotary valves made in the next decade by
those that made a specialty of them. The separate valve stop arm and
actuating arm make for a more complicated build and would more
easily become unserviceable from wear and damage than a simpler
design. The extra clamping screw in the stop arm assemblies, opposite
the arms seemed to be added later, but again, close examination
indicate that they are also part of the original design, keeping the more
familiar retaining screw from causing them to bind against the cork
chamber cap. The bearing surfaces on both ends of the rotors are very
short and would wear out much more quickly than all later rotary valve
designs. These, too, are in very good working order. The articulation
between the valve levers and push rods are riveted together and not
really repairable as they wear, causing much noise that can be partially
silenced with thick oil. Oil wasn't often used on musical instruments at
that time; the common choices were vegetable and animal oils, which
oxidize and solidify with age. The likely uses were more for rust
prevention on the steel parts rather than lubrication as we are
accustomed to. Also worth noting is the design of the knuckles (short,
curved tubes) that attach to the valve casings. The inner bend is an
abrupt 90 degree bend as seen on almost all American made rotary
valve instruments made before 1865 and many early German and
Austrian examples. Later instruments, at this inside turn, have two
short 45 degree bends or an actual curve. I haven't made a study of
the European made instruments to know if this was the most common
in the earliest of them or varied from maker to maker.
While I can't draw a firm conclusion on the question of originality of
the silver plating, another bit of positive evidence is the decorative
engraving. This is very rare on early French instruments, even by the
end of the 19th century. While products of Adolphe Sax's shop were
engraved with words in a large and very bold script akin to John
Hancock's signature on the Declaration of Independence, even these
had no additional decoration beyond Sax's trademark monogram. The
obvious question is what was the reason for the unusual treatment of
finish and decoration. We know that Besson exhibited instruments in
major international exhibitions including 1844 Paris (probably before
this was made), the 1851 London Crystal Palace Exhibition and again
in Paris in 1855. At this point it would only be a wild speculation to
imagine this as one of the instruments specially prepared for one of
those shows. I have not been able to find a list of the instruments that
Besson exhibited at the Crystal Palace, but I'm sure that it exists
somewhere.
To be continued...
Click on images for larger views.