The ophicleide is a
strange, hybrid instrument. It came
into being in Paris in the early 19th
century and has as one of its forbears
the Serpent. Essentially the ophicleide
is a brass instrument, played with a
trombone mouth-piece but the pitch of
whose notes is controlled by finger
holes, like a woodwind instrument. This
means that the ophicleide is difficult
to control and makes great demands on
the player's technique. It was in very
common usage in the 19th
century and became a popular solo instrument.
Paris in the early
19th century was a ferment
of instrumental invention. John Eliot
Gardiner's performances of Berlioz's
Les Troyen at the Chatelet Theatre
in 2005 were remarkable for their use
of a series of brass instruments invented
by Adolph Saxe, rather than the later
brass replacements commonly used. These
then newly invented instruments were
intended to improve the instrumental
repertoire and sound. Not everyone succeeded
and only some, like the saxophone, have
gone one to have modern success. But
as Nick Byrne, the player on this disc
points out, the ophicleide has many
problems similar to the contemporary
saxophone. Whereas the saxophone went
on to have numerous improvements made
to it, the ophicleide has remained marooned
in the sidelines of history.
Nick Byrne is an Australian
trombonist who has devoted some considerable
time to making inroads into ophicleide
performance practice. He describes the
instrument as a stern task-mistress,
but you would not know it from the stunning
performances on this disc. The repertoire
here mixes 19th century works
specifically written for the instrument
with transcriptions of pieces both ancient
and modern.
In terms of sound quality
the instrument seems to combine elements
of the French Horn with the bassoon.
As performed by Byrne it displays the
facility for both fine, legato playing
and agility.
The 19th
century instrumental display pieces
tend to exploit both of these characteristics,
giving the player the opportunity for
fine legato and also extreme virtuoso
passages. Generally the music consists
of an introduction, a slow section (legato)
and a fast virtuoso conclusion. The
Fantasie Variée by the
Belgian composer Dieudonné Dagnelies
provides the player with a series of
variations which enable a display of
all of their talents. The piece is not
particularly deep, but when well played,
as it is here, you cannot help but smile.
That is one of the
advantages of this disc, Byrne wears
his learning and virtuosity lightly
and does not try to make a greater case
for the music than it warrants, leaving
us to simply sit back and enjoy a lovely
recital.
The second piece on
the disc is the slow movement from Simon
Proctor's Ophicleide Concerto. This
is a contemporary piece designed to
show what the instrument is capable
of, and this lovely slow movement allows
Byrne to display his talent for legato
playing. Proctor seems to be an enthusiast
for ancient instruments as he has written
a number of works for Serpent as well.
The Introduction
and Polonaise by the French flautist
Jules-Auguste-Edouard Demerssemen was
inspired by the valve trombone. The
piece works well on the ophicleide,
though it makes serious demands on the
player. Byrne is up to the challenge
and you never feel the work is overwhelmed
by technical issues.
Elgar's Romance was
composed for the bassoonist of the LSO
but the pieces works well enough on
the ophicleide, though there is no indication
that Elgar had any inkling of the instrument's
existence.
Kaspar Kummer's Variations
for ophicleide is another example
of the extreme virtuoso display piece
from the 19th century. As
with the others on the disc, Byrne copes
admirably and you can't help but smile
again. I was less convinced by the transcription
of the Rachmaninov Vocalise,
moving the vocal line to the bass clef
just does not seem to work well, no
matter how much style Byrne brings to
the solo.
Rather more successful
is O Ruddier than the Cherry
from Handel's Acis and Galatea.
Originally written for bass soloist,
it was a popular ophicleide solo in
the 19th century and Byrne
responds well to Handel's bass writing.
Another transcription, of Grieg's Ich
liebe dich, works well enough, but
does not seem to bring out any special
qualities in the instrument.
Hyacinthe Eleonore
Klose's Air Varié was
written for the bassoon. It makes strong
demands on the instrument but the ophicleide,
being a keyed instrument, is also capable
of playing it and Byrne provides a tour
de force.
The final piece in
the recital is the most revealing, Astor
Piazzolla's lovely, melancholic Oblivion,
which indicates that there might be
a contemporary voice for this fascinating
instrument.
Nick Byrne and his
accompanist, David Miller, wear their
learning and virtuosity lightly. The
result is a highly enjoyable and entertaining
recital which reveals the immense possibilities
of a neglected instrument.
Robert Hugill
for details
Nick Byrne (ophicleide) 
