The Biphon on Double Euphonion.[1]

The Musical Courier, Vol 27 #25 (Dec 20 1893), P. 68, 70 By A.A. Clappe. From the Dominant.

Adolph Sax, inventor and reformer in musical mechanics, in 1845 took out a patent in France for a new family of brass instruments, to which he gave the name Saxhorns. This family, according to Berlioz in his Treatise on Instrumentation, consists of:

He also invented saxtrombas, otherwise what are now known as "tenors," or valve trombones, and a family of saxtubas, which, says Berlioz, "are instruments with mouthpieces and a mechanism of three cylinders; they are of enormous sonorousness, carrying far, and producing extraordinary effect in military bands intended to be heard in the open air." Of their form he writes: "Their shape " elegantly rounded " recalls that of antique trumpets on a grand scale," a remark which would seem to assign to Sax the honor of adopting the term "helicon" form to all kinds of brass instruments. Besides the foregoing he experimented continuously with instruments of novel construction, some of his contrivances having as many as six valves, and from two to seven bells, also rotary bells for changing the direction of the sound. Further, remarks W.H.S. in Grove's Dictionary, "he also attacked the problem of true intonation in valve instruments, by means of what he terms a compensation," a term that has been adopted by later manufacturers, who claim to be engaging in pursuing the same laudable purpose.

I have connected the same of Sax with my subject for the purpose of pointing out that he was the originator of the forms of brass instruments as at present employed; that "he planned all the tubes and mechanism on a far sounder acoustical basis than had been attempted in the fortuitous and disconnected contrivances of former periods," and there can be no doubt "greatly added to the compass, richness and flexibility of the military brass and reed bands." It will be seen from the foregoing account that while improvements may have been effected by later makers there is not, up to the present moment, any really new invention added to the list of Sax's achievements. The passage of the airway through pistons may have been much improved, the compensators advanced to a higher state of perfection, the forms molded into more elegant shapes; but after all, as before remarked, nothing hew has really been added to the ensemble of the family of brass instruments as employed in military bands. And in saying this I do not forget the biphone, or double belled euphonion, for as has already been stated, Sax made instruments with any number of bells up to seven; neither am I unmindful of the so-called recent additions in the way of pistons.

It is apparent from the above that the biphone is the outcome of the attempts of Sax to place in the hands of performers an instrument affording the facility of changing the quality of tone (timbre) at pleasure, and in this later makers are following him. At the present time, however, the euphonion is the only instrument furnished with an additional bell, used in American military bands, although specimens of its application to other instruments are not wanting in Europe.

The euphonion is a baritone of large bore, and so named to distinguish it from the althorn in B flat, which is the baritone saxhorn mentioned in the list above given. I have heard it said the instrument received its title from Mr. Phasey, whose name became known throughout Europe some years since as a most brilliant performer upon the same. How true this may be I cannot say, but one thing appears certain, the name is peculiar to English nomenclature; at least it was up to a few years since, while even now one rarely finds the instrument alluded to in any foreign arrangements or scores except as a baritone. It was adopted in military bands very generally as far back as 1860, and used to replace the old serpent and ophicleide, which are now both practically obsolete, specimens of them being found only in museums or the archives of some instrument maker. Its sounds are in what is termed the 8 foot octave, extending from B flat below in the bass clef through three octaves upward, a range specially fitting it to occupy the position of a solo instrument.

The quality of tone is of baritone color, broad, open, vibrant to a degree, but extremely flexible. This fact enables the performer to display his artistic powers in the realm of ideal interpretation, where tone in all its shades and expression in all its manifestations count for so much. There is no modern brass instrument better adapted to the purpose of the highest order of musical expression than is the europhoion, and that its beauties are appreciated so extensively may be regarded as an encouraging sign of the growing esteem for the beautiful in the regions of tone color.

The addition of another and smaller bell to the euphonion, with contrivances necessary to divert the wind through it, adds to the usefulness of the instrument, and greatly enhances the pleasure of the performer. The purpose of this additional bell is to modify and, in fact, change the quality of tone evolved from the instrument, an object that may be effected instantaneously by pressing down the piston furnished to open the airway into it, while at the same time shutting it off from the original bell.

A writer on the subject of the bell, in Grove's Dictionary remarks: "It undoubtedly adds to the power of the tone, on the same principle as the speaking trumpet reinforces the voice, though the exact cause of the fact is not known." Further, as showing the power of the bell to modify tone, Chappell, in his History of Music, after discussing the effect of length on the pitch of tubes, remarks: "And yet anyone might practice the horn in a drawing room, if he would have a bell to take on and off." From these quotations it may be inferred that the second and smaller bell will reduce the volume of tone. Acquaintance with the biphone establishes the truth of the inference, for this two voiced instrument really possesses tonal powers of two contrasting colors, viz., baritone and tenor.

Herein lies its great utility in the hands of the soloist or efficient performer in band or orchestra. The soloist can produce surprising effects of contrast in the tastefulness of his method of modifying the tones of this instrument to suit the emotional character of this or that phrase or period, to the extent of carrying on a kind of musical dialogue; while in the band or orchestra, especially if of small numbers, the fact of having a two voiced instrument in the hands of one man must weigh with progressive leaders, who are desirous of securing the greatest tonal variety possible within the limits of their organization.

Tone is valued according to the homogeneity or otherwise of its characteristics; and if it be possible to produce two distinct tonal effects, each one being of beautiful color, and without sacrifice of the pristine tone character of the voices supposed to be represented, then the biphone is a distinct acquisition to band and orchestral instrumentation, for the reasons given above. Mr. Raffayolo, the celebrated euphonion soloist, formerly of Gilmore's Band but now with Sousa's concert organization, has upon his American Excelsior double bell euphonion satisfactorily demonstrated that such is possible, and his performances have done much to bring the biphone into prominence before the public, and obtain recognition for it among euphonion soloists in all parts of the country, who are now rapidly adopting it.

There can therefore, be no doubt that this instrument, singular in appearance though it be, has come to stay and must be in the future taken account of by composers and arrangers. It affords great scope for the display of ingenuity in the construction of ingenious passages suited to its dual characteristics, a fact that the foregoing musicians will not fil to recognize and immediately put into practice. But, in the meantime, baritone parts as already published, wherein are ofttimes cued important phrases, &., for trombones, are well adapted to show off the usefulness of the biphone, especially where, through unavoidable circumstances, the trombone is absent from the ranks of the band.

[1] Note that the spelling variants for the instruments' names are as they appeared in the original publication and reflect an earlier usage.