- - Please visit: Legacy Horn Experience - -
In several posts I have talked about how just before the pandemic I was able to obtain a low milage 1948 Kruspe horn. This is not just a Kruspe-style horn, it is an actual Kruspe made by the firm that originated the design (more here). Getting it ready to play has been a slow process that involved a valve rebuilding by Patterson and other work. On my end that especially included rebuilding the thumb valve lever (which had been modified for the prior user).
Particularly in this article I make a case that the medium bell Kruspe is a horn that could come back in fashion, if a good enough example was being produced. I have seen the article come up repeatedly in the site stats, I am sure people out there are thinking about Kruspe style horns. There is a playing comfort X factor that is different than a Geyer style horn.
My original Kruspe dream
Years ago (as a Doctoral student) I remember wondering what the result would be if a maker would take a horn like this one and make a fine copy of the same type and high level that Rick Seraphinoff copies a historic horn design. I have long thought if I was ever to make a double horn that is an idea I’d like to explore.
Finding a mouthpiece
To more practical matters, to play any horn you have to find a mouthpiece that matches it. That took a while and some experimentation, but I finally settled on a Houser San Francisco Cup 14-0-3 as being a good match. The larger (#3) backbore opened things up a bit, needed as the horn does not “feel” large. It certainly has a medium bell and a sound that is closer to what you think of a Geyer than a Kruspe.
Intonation seemed like it was quite good after things cooled off a bit too — in the summer, when it was hot (and warmer inside, too, especially where I practice at home), I could not pull the main slide out enough.
Deciding to use it
The thing that helped me finally go big and try it was I was able to play it briefly for Gabe Kovach, Principal Horn of the Phoenix Symphony, who came by ASU to judge our horn concerto competition. It is really hard to hear your own sound objectively, you need to play for someone with a strong sense of horn sound. His reaction was that the horn really sounded great. So I pushed through my mechanical concerns and gave it a good try.
It sounds like this
The clip below is keyed to start right at the piece that best demonstrates the sound. This program was a repeat of one earlier in the semester, for more on the piece (and a performance on my Paxman) see this article.
A major positive thing was that I found no troubles playing it in tune. That was a concern, as I have heard that vintage Kruspe horns basically always have quirky issues. The fact that this horn was built after WWII and also was not played hard by Perry Yaw, the prior player of this horn, probably helped a great deal.
Further modifications
I don’t plan to modify the horn significantly, but I do need the left hand mechanics to work better for me. Since the performance I have replaced the spring in the thumb valve and I’m pondering more slight changes.
As the series continues periodically I will look closer at this particular Kruspe, compare to an older vintage Kruspe, look at the Kruspe that Tuckwell used (of exactly the same vintage as my horn) and more.
