lmao

Happy birthday! And I agree

And the sackbuts as well!

something looks different about the contra bass strings too, maybe gut strings?

like a museum on wheels LOL

And the old french horn

@@forveillelier the French horns were probably the most interesting, with the one with 3 piston valves and the other one with two rotary valves

People seem to forget that it was only five years after Beethoven 9 and the sonic world is COMPLETELY different.

Bass trombone.

@@svenlarsson Contrabass. I have one from this period. It's called an "F contrabass". The bell on mine is around 9".

@@gregmonks Interesting! It is like the basstrombone in Bb that is more like a modern tenor. Tenor-basstrombone. I would like to call your horn a bass-contrabasstrombone?

@@svenlarsson1584 The idea of bass has changed over the years. The ophicleide was considered a bass instrument when it was new on the scene, but it really plays in the euphonium's range. My F contrabass trombone plays best in the same range as the Bb tenor trombone because of its narrow bore. I know several modern players who would kill to get their hands on 19th century F contrabass trombones because of their rarity. Not that they're especially rare but that they're all taken. Lots of G's around, but F's are as rare as hen's teeth.

To be sure, Berlioz often called for huge forces in his music, so the orchestra in 1830 probably would've been twice as big. Similar instruments, though.

They're playing modern french bassoons for some reason.

Further back than that

Can you imagine being in the audience when this was first performed? On a par with the premier of le sacre du printemps, possibly.

Steven Clark k

😮😅

Damn

The guy who plays serpent in this is actually kinda famous for being a professional serpent player

Gharnie Chouou I can’t say I’ve ever seen a serpent held the way he does

@@connorlange594 Yes -- Patrick Wibart seems to specialize in serpent and ophicleide -- I haven't seen him perform on modern instruments, although he probably started his training on euphonium or something similar. Anyway, it's good that there's at least _one_ person in the world capable of playing these things well!

Most serpent players come from trombone/bass trombone or euphonium, however there are a few who started on tuba

I was wondering about that. What's up with the strings?

How do dragonetti bows differ from the regular bows?

Here's the March done by OAE - a brilliant performance I attended in Helsinki. The rest of the symphony is there too. kzfaq.info/get/bejne/bZmnnZp-qJ_No2Q.html

Because the first part of this song inspired the shining theme

@@CohenMore yep! One of the best uses of it in film history.

@@lnsullivan422 Yeah it's amazing it's good in doctor sleep but nothing will beat the original from 1980

Its lowest note is A1, nowhere near a normal tuba, but it can go much higher much easier. The Bb1 actually is the pedal note weirdly enough. It has the same length of tubing as a trombone.

Regardless of the key system, the ophicleide shares the same acoustical principles with any other conical bore brass instrument. But of course there are small differences between any examples of a class of instrument.

The trombones/sackbuts used here are interesting -- they seem to be transitional instruments, with a more flared bell than the typical sackbut used in the renaissance/baroque, but less so than a modern trombone. I guess the bore is narrower also.

I believe that they are Victorian small bore (pea-shooter) Trombones

I wondered the same thing. The bassoons look more advanced keywork than I'd expect for 1830.

I could be wrong but my guess is they’re playing modern french bassoons

@@mattlaplante6500 , Wiennerhorn

It is the ancestor of the modern tuba! Good ear!

Yes the opening titles driving toward that lovely hotel

No, it is NOT the theme from The Shining. The Shining theme was instead lifted from the theme of this movement of the symphony, namely the ancient "Dies Irae" (Day of Wrath), commonly used to associate a piece of music with death. In other words, both Berlioz and Carlos (this symphony and The Shining) borrowed the same pre-existing musical theme.

@@youtuuba The theme from The Shining definitely shares phrasing and instrumentation with Berlioz, though.

@@OBrasilo , I have not watched The Shining recently, but my recollection is that the opening music was a synthesizer realization by Wendy Carlos. If I am correct, then the soundtrack could not share instrumentation with Berlioz's use of the Dies It as theme. As for phrasing, it is a simple chant phrase, and 'phrasing' is implicit.....it would be very unlikely for them to be much different.

@@youtuuba The final note of the second line ("Solve sæclum in favilla") - in the original chant, it's a single note, but in both Berlioz and The Shining, it's two notes.

The Wieprecht tuba (first one with valves) was developed in 1835. So, I'm thinking they had valves before that. Also, some of the valved horns were able to remove the valve set and play as a natural horn. Crazy stuff, but hey, they were inventive then. The ophicleide, oh lordy, was/is the best instrument ever. I own one and absolutely love playing it. More so than a baritone horn/euphonium, but not more than tuba :)

I thought that the 3 valve system was patented in 1815? I may be wrong but there was a mention of the history of it in the Cornet tutor book by Arbens. Ask your Brass Band mates. They would have studied out of that book. Hey, wasn't that a great performance.

The ophicleide was invented in 1817 and patented in 1821. The serpent is commonly regarded as being 'invented' around 1590.

The valved Horn with stolzel valves appeared in 1818.

@@youtuuba By Edme Guillaume.

well, is also a Dies Irae, older than Totentanz so, they have to resemble by force...

The Dies Irae ('days of wrath, days of mourning') was a traditional part of the Roman Catholic funeral mass when I was young -- one of my favorite bits to sing.

Mason Guy ikr

I think thats how the bows were like back in the day because if you could not already tell, this is an old fashioned orchestra

He's using a very old style bow, probably baroque, before the Dragonetti bows

@@UlimorUdamenta Thanks for letting me know :)

Ray2740 Music Those look like cornets to me.

I think those are Cornopeans.

Cornets

Only name I've ever heard for them is the baroque bow. Style that came over from the viola de gamba family iirc

The large bow is called a Dragonetti bow, after the Venetian bass virtuoso Domenico Dragonetti, who refined it for his own use throughout his life.

Yep, Drgonetti bow. Look, gut strings, too (at least the G and D). The playing is clean and punchy.

Natural trumpets. Bugles are much more conical in shape.

Dat Tall Audiophile You’re not technically wrong, the shining theme is basically just this movement arranged for a synthesizer

The french horn with 2 keys, name?

Early Romantic.

It is

The curvy one is the Serpent and the bigger gold one is an ophocleide

No, they were not. This is the 1830 first orchestration entirely on original instruments.

You are certianly right. This is he indication that is in my score. Therre is no allusion to it in the treatise of ooechestration of Berlioz.

Although this was the original scoring, Berlioz updated it several times (replacing the serpent with a second ophicleide). He eventually replaced the ophicleides with two tubas (which were invented in 1835).

@@teletran1175 It did sound better with the original instruments though.

There is a very particular and important reason that Berlioz originally scored this passage with ophicleides. The Dies Irae is a Gregorian chant (sequence from the Requiem mass), and at that time in France chant was sung, at a slow tempo (even slower for more solemn liturgies, for which the Requiem, the mass for the dead, obviously qualifies), and accompanied by ophicleides or serpents. In his orchestration treatise, Berlioz' entry on the Serpent specifically mentions the terrifying effect of that instrument when used to play the Dies Irae at funerals. So, the ophicleide and serpent here are recreating, for this moment in the symphony, their literal role in a funeral liturgy; and the four bassoons playing in unison with them are taking the place of a unison men's chorus singing the Dies Irae chant. All that, along with the regularly tolling church bells, would have immediately and fully evoked the sound of a funeral mass to a French audience of that time -- no doubt frightening in itself, all the more so compounded by the incongruously impish dancing diminutions of the Dies Irae theme in the high woodwinds and strings.