| Serpent | |
| Image Capt: | Serpent, late 18th century Italy. Civic Museum of Modena |
| Background: | brass |
| Hornbostel Sachs: | 423.213 |
| Hornbostel Sachs Desc: | labrosones with fingerholes with wide conical bore[1] |
| Developed: | Late 16th century |
| Range: | Range of the serpent; notes below C₂ are obtained with the embouchure |
The serpent is a low-pitched early wind instrument in the brass family developed in the Renaissance era. It has a trombone-like mouthpiece, with tone holes and fingering like a woodwind instrument. It is named for its long, conical bore bent into a snakelike shape, and unlike most brass instruments is made from wood with an outer covering of leather. A distant ancestor of the tuba, the serpent is related to the cornett and was used for bass parts from the 17th to the early 19th centuries.
In the early 19th century, several upright variants were developed and used, until they were superseded first by the ophicleide and ultimately by the valved tuba. After almost entirely disappearing from orchestras, the serpent experienced a renewed interest in historically informed performance practice in the mid-20th century. Several contemporary works have been commissioned and composed, and serpents are again made by a small number of contemporary manufacturers.The sound of a serpent is somewhere between a bassoon and a euphonium, and it is typically played in a seated position, with the instrument resting upright between the player's knees.
Although closely related to the cornett, the serpent has thinner walls, a more conical bore, and no thumb-hole. The original serpent was typically built from hardwood, usually walnut or other tonewoods like maple, cherry, or pear, or sometimes softer woods like poplar. In France, the instrument was made from bonding two double-S-shaped halves, each carved from a single large piece of wood. In England, it was usually made from several smaller curved tubular wooden segments, each made by gluing two hollowed halves together. The whole instrument was then glued and bound with an outer covering of leather. A small number were made instead from copper or brass; one brass serpent in the Museo internazionale e biblioteca della musica in Bologna was built in 1773 with an added outer layer of leather.[2]
The instrument uses a mouthpiece about the same size as a tenor trombone mouthpiece, originally made from ivory, horn or wood, which fits into the bocal or crook, a small length of brass tubing that emerges from the top wooden segment.
The serpent has six tone holes, in two groups of three, fingered by each hand. It is difficult to play the instrument with correct intonation, due in large part to the positions of the tone holes. They are arranged largely to be accessible to the player's fingers, rather than in acoustically correct positions, which would have placed some of them out of reach. The lower tone holes are too small to act effectively to shorten the air column, but serve to dampen resonances and provide a mellow timbre, suitable for accompanying the voice. While early serpents were keyless, later instruments added keys for additional holes out of reach of the fingers to improve intonation, and extend range. A mid-19th century model by London instrument maker Thomas Key has 14 keys, and survives in St Fagans National Museum of History in Cardiff, Wales.[3]
Modern replicas are made by several specialist instrument makers, employing acoustic analysis and modern fabrication materials and techniques to further improve the serpent's intonation. Some of these techniques include use of modern composite materials and polymers, 3D printing, and changing the placement of tone holes. Swiss serpent maker Stephan Berger in collaboration with French jazz musician Michel Godard has developed an improved serpent based on studying well-preserved museum instruments, and also makes a lightweight model from carbon fibre.[4] English serpent player and musicologist Clifford Bevan remarks that Berger's instruments are much improved, finally allowing players to approach the serpent "in partnership rather than in combat".
The majority of surviving specimens in museums and private collections were built in 8′ C, thus having a total tubing length of about . A few slightly smaller specimens were built in D, and military serpents could sometimes vary in pitch between D♭ and B♭.
A soprano serpent, or, first appeared in the 1980s; there is no repertoire or other evidence of their historical existence. Built an octave higher than a serpent in 4′ C, it was first made as a novelty instrument by English early music specialist and instrument maker Christopher Monk.
The contrabass serpent, nicknamed the and built in 16′ C one octave below the serpent, was an English invention of the mid-19th century with no historical repertoire. The prototype instrument was built by Joseph and Richard Wood in Huddersfield as a double-sized English military serpent, and survives in the University of Edinburgh museum collection.[5] [6] Its use of keys, progressively larger tone holes, and an open top tone hole make it essentially a serpent-shaped contrabass ophicleide. During the serpent's modern revival, two more contrabass serpents were built in the 1990s by Christopher Monk's workshop, but based instead on the original serpent ordinaire form. They were called "George" and "George II". The first, commissioned by musicologist and serpent player Philip Palmer, was owned by American trombonist and serpent player Douglas Yeo for a time and features in some of his serpent recordings.[7]
There is little direct material or documentary evidence for the exact origin of the serpent. French historian Jean Lebeuf claimed in his 1743 work Mémoires Concernant l'Histoire Ecclésiastique et Civile d’Auxerre that the serpent was invented in 1590 by Edmé Guillaume, a clergyman in Auxerre, France. Although this account is usually accepted, some scholars suppose instead that the serpent may have evolved from large, similarly-shaped bass cornetts that were in use in Italy in the 16th century.[8] The serpent was certainly used in France since the early 17th century, to strengthen the cantus firmus and bass voices of choirs in plainchant.[9] This original traditional serpent was known as the French: serpent ordinaire or French: serpent d'église .Around the middle of the 18th century, the serpent began to appear in chamber ensembles, and later in orchestras. Mozart used two serpents in the orchestra for his 1771 opera Ascanio in Alba.[10]
Towards the end of the 18th century, the increased popularity of the serpent in military bands drove the subsequent development of the instrument to accommodate marching or mounted players. In England, a distinct military serpent was developed which had a more compact shape with tighter curves, added extra keys to improve its intonation, and metal braces between the bends to increase its rigidity and durability.In France around the same time several makers produced a French: serpent militaire initially developed by Piffault (by whose name they are also known) that arranges the tubing vertically with an upward turned bell, reminiscent of a tenor saxophone.
Several vertical configurations of the serpent, generally known as upright serpents (French: serpent droit) or bass horns, were developed in the early 19th century. Retaining the same six tone holes and fingering of the original serpent, these instruments resemble the bassoon, with jointed straight tubes that fit into a short U-shaped butt joint, and an upward-pointing bell.
The serpent appears as Italian: serpentone in early 19th century Italian operatic scores by composers such as Spontini, Rossini, and Bellini. In Italy it was replaced by the cimbasso, a loose term that referred to several instruments; initially an upright serpent similar to the basson russe, then the ophicleide, early forms of valved tuba (Italian: pelittone, Italian: bombardone), and finally by the time of Verdi's opera Otello (1887), a valve contrabass trombone.
The era of upright serpents was brief, spanning the first half of the 19th century from their invention to their replacement by the ophicleide and subsequent valved brass instruments. German opera composer Richard Wagner used a serpent as a third bassoon in his 1840 opera Rienzi, but by the 1869 première of his Der Ring des Nibelungen cycle he was writing his lowest brass parts for tuba and contrabass trombone. Consequently, the serpent had all but disappeared from ensembles by 1900.
The serpent has enjoyed a modern revival of interest and manufacture since the mid-20th century. Christopher Monk began building his own replica cornetts and serpents and playing them in historically informed performances. In 1968 he and a colleague devised a method of constructing cornetts inexpensively from a composite wood-resin material, which helped to raise interest in these instruments and increase their availability. In 1976 he established the London Serpent Trio with English players Andrew van der Beek and Alan Lumsden, performing new works and historical arrangements, both serious and whimsical, throughout Europe and North America.[14] At the same time in France, historical instrument specialist Bernard Fourtet and jazz musician Michel Godard began promoting use of the serpent, and established an academy for young serpent players.[15] Among these younger serpent specialists are Volny Hostiou, who has recorded a significant serpent discography, and Patrick Wibart, also an accomplished ophicleide player.[16]
The serpent's range typically covers the two and a half octaves from C two octaves below middle C to G. The range can easily extend downwards to A1 or even F1 by fingering the low C note with all holes covered, and producing falset tones, by "lipping" down with the embouchure. Proficient players can play upwards to C.
Serpents were originally used as an instrument to accompany church choral music, particularly in France. For this purpose, very little was specifically written for the serpent per se; the serpent player would simply play the cantus firmus, or bass line. The serpent began to be called for in orchestras by opera composers in the mid-to-late 18th century, and their subsequent adoption in military bands prompted the publication of several method books, fingering charts and etudes, including duets for student and teacher.
Among the serpent's first appearances in orchestral scores is George Frideric Handel's Music for the Royal Fireworks (1749), although he later removed it, and Mozart included it in his opera Ascanio in Alba (1771). Italian composers in the early 19th century often called for serpentone, for example operas by Gioachino Rossini and Vincenzo Bellini, and Niccolò Paganini's Violin Concerto No. 2 (1826). Hector Berlioz included serpent and ophicleide in his early revisions of Symphonie fantastique (1830), and Richard Wagner's early opera Rienzi (1842) calls for serpent.
After disappearing almost entirely, the serpent began to reappear in the mid-20th century, in film scores and new period instrument chamber ensembles. American film composer Bernard Herrmann used a serpent in the scores of White Witch Doctor (1953) and Journey to the Center of the Earth (1959), as did Jerry Goldsmith in his score for Alien (1979).
In jazz, French tubist Michel Godard has incorporated the serpent into his music.
Modern works for the instrument include a concerto for serpent and orchestra by English composer Simon Proctor, commissioned in 1987 to mark the first International Serpent Festival in South Carolina, where it was premièred by London Serpent Trio member Alan Lumsden in 1989.[17] Also premièred at the festival was comic composer Peter Schickele's P.D.Q. Bach piece "O Serpent" written for the London Serpent Trio and an ensemble of vocalists.[18] [19] Douglas Yeo premièred "Temptation" for serpent and string quartet, written by his Boston Symphony Orchestra colleague, trombonist and composer Norman Bolter, at the 1999 International Trombone Festival in Potsdam, New York.[20] [21] Yeo also premièred a serpent concerto in 2008 by American composer Gordon W. Bowie entitled "Old Dances in New Shoes".[22] Italian composer Luigi Morleo wrote "Diversità: NO LIMIT", a concerto for serpent and strings, which premièred in Monopoli, Italy in 2012.[23]
American composer Austin Wintory's Grammy-nominated and BAFTA-winning soundtrack for the 2012 PlayStation 3 video game Journey includes a serpent as one of the five soloists, played by Noah Gladstone.[24]