Recreating historical cornetts

Let’s say we believe those old masters of cornett making knew what they were doing. We can trust those instruments’ quality, but we must remember that centuries have passed since they were made.

Here I would like to present models of historical cornetts that I am recreating and also rescaling to pitches vastly used nowadays. Are my instruments copies? I wouldn’t prefer to call them that way. They are based on a historical design with great attention to precision and are hand-made in a modern way and available materials, with modern-type mouthpiece sockets and a curve to the right. Reproduced cornetts presented here do not replicate the inevitable flaws of preserved exemplars, but my focus is on making well-working instruments. I will be gradually extending available models in different pitches.

Detail of the SAM 230 treble corentt in G reproduction made by Patrik Sabo

SAM 230

Treble cornett in G
Sammlung alter Musikinstrumente – Kunsthistorisches Museum, Vienna
Bassano (16th or 17th century)

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  • The model instrument originates from castle Catajo in Italy and is now part of Sammlung alter Musikinstrumente – Kunsthistorisches Museum in Vienna. According to doubled makers mark, it was made by the famous Bassano family in the 16th or 17th century.

  • The instrument was most likely dedicated to performing in mezzo punto, a pitch standard prevalent in North Italy during the late 16th and early 17th centuries, often referred to by musicians and instrument-makers. SAM 230 stands out due to its relatively short length and slender bore design, which enhances resonance in the top register while maintaining a well-functioning lower register. This design choice suggests a focus on instrumental music repertoire. Despite having a notably large third tone hole with a deep undercut, SAM 230 is a stable and well-crafted instrument. While it is speculated that the mouthpiece on the cornett may not be original, it performs admirably.

    One distinctive characteristic of the instrument in its original, unmodified form is its very low Bb flat, a result of the extension of the instrument's foot compared to the "modern" cornetts widely used today. However, this design feature appears intentional, serving as a trade-off to facilitate easy transposition alla terza bassa. This allowed the instrument to effortlessly play an A major scale by simply opening one tone hole after another. Considering how common transposition was in historical practice, this "double system" instrument would have likely been a valuable and appreciated tool for musicians.

    Another unique aspect of this model is the excessive thickness of the wall, resulting in what many modern players describe as a "closed sounding" cornetto. However, others find this thickness to create a beautifully subtle tonal quality that offers a different musical approach.

  • The original instrument's pitch typically falls within the range of approximately 466 to 468 Hz, which can vary based on factors such as the choice of mouthpiece and the player’s technique. Rescaling it to 440 Hz or other required pitches is also available on commission.

Availbility: In production

SAM 235

Treble cornett in G
Sammlung alter Musikinstrumente – Kunsthistorisches Museum, Vienna
Bassano (16th or 17th century)

  • The model instrument originates from castle Catajo in Italy and is now part of Sammlung alter Musikinstrumente – Kunsthistorisches Museum in Vienna. According to damaged maker mark, it was made by the famous Bassano family in the 16th century.

  • The instrument bears a great overall length, coupled with a significantly wide bore, resulting in a notably lower pitch. It is speculated that it may represent a tutto punto — a pitch level not distinctly defined in historical sources as a one for vocal music. Nevertheless, its exceptionally sweet tone and subtle characteristics yield an intriguing timbre that lends itself effectively to instrumental repertoire as well.

    One drawback of this design, likely stemming from its wide bore in the upper part, is a certain level of instability, particularly noticeable at high G. It tends to shift into a different harmonic mode, reaching a high A, when the player hesitates in their technique. However, this issue can be completely overcome if the player employs proper technique, especially with their mouth and teeth properly opened.

  • The pitch in g is estimated on a=430hz with the reproduction of original model.

Availbility: In stock