The next page of this Paul Stark catalogue features 3 instruments made of brass. At least one of these instruments has taken on nearly mythological status…
The Clavicor
Starting with the first instrument listed, the clavicor, it was shown to be orderable in 5 pitches: F, Eb, C, Eb, Db, and Bb. (Although I am curious what the difference between catalogue numbers 451 and 453 is, as both are listed in Eb, and no other info. is provided.)
If you’re like me, and haven’t heard of a clavicor before, this is what the Harvard Dictionary of Music writes about this unusual instrument:
An alto or tenor brass instrument in a tall, upright shape. It has a very narrow bore and three Stölzel *valves, one for the left hand and two for the right. Patented in 1837 by a Parisian named Danays, it was designed to replace the *ophicleide and was made in five sizes (alto in F and Eb; tenor in Db, C, and Bb) in Paris by the firm of Guichard. During the mid-19th century, clavicors were used in some French, English, and Italian bands. Later models had all three valves together in the usual right-hand position.
If you’d like to see what a clavicor looks like, Horn-u-copia has a nice, but small, photo of one on their site.
The Ophicleide
9 key ophicleide by Charles Joseph Sax Source: stayhungrystayfoolish1 on eBay.com
Unlike clavicors and octavins, we quite regularly see ophicleides for sale on places like eBay, and on specialty sites. These brass instruments have a conical bore and keys, like our favourite woodwind, but have a brass wind mouthpiece.
BBb, 10 key ophicleide by Kelhermann Source: Wichita Band Instrument Company on eBay.com
The ophicleide was designed to replace to replace the wooden serpent that was hard to play… especially well. As a matter of fact, according to contrabass.com, ophicleide means “keyed serpent”.
Given their overall construction, it is not surprising that there are those who draw a connection between the ophicleide and the saxophone. I’m not sure who originally published the theory that the ophicleide was related to the saxophone, but the theory goes like this: Adolphe Sax’s prototype saxophone was made by taking a ophicleide and adding a bass clarinet mouthpiece to it.
Most recently this theory was restate by Stephen Cottrell, in his book The Saxophone. He writes that:
The coupling of a single-reed sound generator with a large conical-bore instrument such as the ophicleide certainly produces a sound that distinctly suggests the tessitura of the baritone/bass saxophone. Berlioz, writing in March 1842, confirms the genesis of this ‘ophicléide à bec’, observing that the instrument involved ‘replacing the cup mouthpiece with the mouthpiece of a clarinet.
In the Paul Stark catalogue from 1893, the ophicleides are shown to be available with either a round (rund) or oval bell (Schallstück). Replacement bell sections and pads (Klappenpolster) were also available through the Paul Stark company.
In addition to being available in either 9, 10, or 11 key versions, apparently the older “Müller” system horns were available as well… Whatever that was. If you have any knowledge about what these Müller system horns were, please leave a comment, or drop me an email.
The fabled Georgeophone
A Pélisson Brothers Georgeophone circa 1861. Source: archive of Michel Smiga’s website
The next instrument from this antique Paul Stark catalogue, is one that has taken on nearly mythological status in the saxophone world. Pete Hales has written an excellent history about the Georgeophone in his article, The Saga of the Curved Baritone. Rather than reinvent the wheel, I’m going to suggest that you hop on over to Pete’s weblog, and see what he discovered about this ophicleide-shaped saxophone.
Suffice to say here, the Georgeophone was built by the Pélisson Brothers in the latter part of the 19th century. According to French music blog, Archives Musique, Facteurs, Marchands, Luthiers (thanks Google Translate), these unusual baritone and bass saxophones were based on the patent that Claude George filed in 1867, and that Pélisson Brothers held.
The patent called for:
“A mounting system saxophone keys” which consisted primarily to align the key with one hand on the same rod, which greatly simplified the assembly and disassembly of the instrument. One can read in the brochure that was “only 8 screws instead of 34 in the classical model.”
This principle is still used in modern saxophone.
Source: La Maison PELISSON Frères et le Saxophone Système GEORGE
These “system George” saxophones, unfortunately, never did catch on very well, despite being given an award at the Universal Exhibition in Paris in 1878.
Until recently, the photo above was the only image known to exist of this once mythological member of the saxophone family. In July 2012 though, a fellow from Switzerland uploaded to YouTube the following video of a Georgeophone being played. I’ll let you decide for yourself what it sounds like. Saxophone? Bassoon? Something in-between?
If you’re interested in hearing the sound of the Octavin. Please check out my YouTube video. https://www.youtube.com/watch?v=34lxGW4Rp2o
On 1:48 there is the short appearance of something that looks like a modern Georgeophone.
No Georgeophone, probably a Wessex ophicleïde.
The instrument, that according to Berlioz, inspired Adolph Sax.
Hector Berlioz, Hugh Macdonald, “Berlioz’s Orchestration Treatise: A Translation and Commentary”, Cambridge University Press, 2002, p. 297
Put a single reed mouthpiece on it and you have a primitive bas saxophone with 13 keys (no octave keys).
Georgeophone: This beautifull horn was also build in Italy by : Ferdinandi Roth , probably there where more Manufacturers of this horn, it was very costly to produce, but at least we have now;
P.Stark, Pelissson adn Roth, maybe there are more.
Yup, considering it was just a rumour a few years ago, I think this is pretty exciting!
I thank you for the dedication.
I only occasionally go out of my comfort zone of sax research into esoteric woodwind instruments, primarily because of the time it takes vs. the time I actually have. However, these instruments shouldn’t be ignored. There are some very close saxophone relatives out there, like the Sarrusophone and Rothophone, and you also have to remember that one of A. Sax’s biggest contribution to the woodwind world was the redesign of the bass clarinet. Hey, a lot of sax players also double on at least clarinet, if not more stuff.
Actually, I’ve been working on Rothophone and Sarrusophone pages for years now. I started them so many times, but have never finished them. I really do need to get them done. One day…