Acknowledgements
Throughout our work of planning and writing this book, we have enjoyed the
support of our respective institutions: the University of Edinburgh, the University
of Le Mans and CNRS and the Royal Conservatoire of Scotland.
An incalculable benefit has been the stimulating insights, always generously
shared by our professional colleagues, who have provided encouragement and
allowed us to draw on the fruits of their hard work. Some have also been so kind as
to read over and comment on the drafts of this book.
We are grateful to all the colleagues and institutions who have allowed use of
their photographs and artworks to illustrate our text, in particular the Edinburgh
University Collection of Historic Musical Instruments (denoted in captions by ‘EU’)
and the Royal Conservatoire of Scotland (denoted in captions by ‘RCS’).
Finally, we acknowledge the assistance given by the many musicians and
institutions who have allowed study of their brass instruments, enabling us to
populate the scatter diagrams in Chap. 7. These include: Alistair Braden, Karl Burri,
John Chick, Jean Clamens, Niles Eldredge, William Giles, Maximilian Goldgruber,
Bruno Kampmann, Graeme Lee, Jeremy Montagu, Guy Oldham, Martin Schmid,
Gerhard Stradner, Frank Tomes, Jean-Claude Verdié, John Webb; Stearns Collection, University of Michigan, Ann Arbor; Trompetenschloss, Bad Säckingen;
Historisches Museum, Basel; Musikinstrumenten-Museum SIMPK, Berlin; Birmingham Conservatoire; Museum of Fine Arts, Boston; Royal Pavilion, Brighton;
Musical Instrument Museum, Brussels; Schloss Burgdorf; Musikhistorisk Museum,
Copenhagen; Edinburgh University Collection of Historic Musical Instruments;
Accademia, Florence; Viadrina Museum, Frankfurt (Oder); Burrell Collection,
Glasgow; Royal Conservatoire of Scotland, Glasgow; Steierisches Landesmuseum,
Graz; Gemeentemuseum, The Hague; Händelhaus, Halle; Leblanc Corporation,
Kenosha, Wisconsin; Musica Kremsmünster; Musikinstrumenten-Museum, University of Leipzig; Music Museum, Lisbon; Boosey and Hawkes, London; Horniman
Museum, London; Royal College of Music, London; Victoria and Albert Museum,
London; Musikinstrumenten-Museum, Markneukirchen; Civic Museum, Modena;
Bayerisches Nationalmuseum, Munich; Deutsches Museum, Munich; Stadtmuseum, Munich; Metropolitan Museum of Art, New York; Newtongrange Silver
ix
Throughout our work of planning and writing this book, we have enjoyed the
support of our respective institutions: the University of Edinburgh, the University
of Le Mans and CNRS and the Royal Conservatoire of Scotland.
An incalculable benefit has been the stimulating insights, always generously
shared by our professional colleagues, who have provided encouragement and
allowed us to draw on the fruits of their hard work. Some have also been so kind as
to read over and comment on the drafts of this book.
We are grateful to all the colleagues and institutions who have allowed use of
their photographs and artworks to illustrate our text, in particular the Edinburgh
University Collection of Historic Musical Instruments (denoted in captions by ‘EU’)
and the Royal Conservatoire of Scotland (denoted in captions by ‘RCS’).
Finally, we acknowledge the assistance given by the many musicians and
institutions who have allowed study of their brass instruments, enabling us to
populate the scatter diagrams in Chap. 7. These include: Alistair Braden, Karl Burri,
John Chick, Jean Clamens, Niles Eldredge, William Giles, Maximilian Goldgruber,
Bruno Kampmann, Graeme Lee, Jeremy Montagu, Guy Oldham, Martin Schmid,
Gerhard Stradner, Frank Tomes, Jean-Claude Verdié, John Webb; Stearns Collection, University of Michigan, Ann Arbor; Trompetenschloss, Bad Säckingen;
Historisches Museum, Basel; Musikinstrumenten-Museum SIMPK, Berlin; Birmingham Conservatoire; Museum of Fine Arts, Boston; Royal Pavilion, Brighton;
Musical Instrument Museum, Brussels; Schloss Burgdorf; Musikhistorisk Museum,
Copenhagen; Edinburgh University Collection of Historic Musical Instruments;
Accademia, Florence; Viadrina Museum, Frankfurt (Oder); Burrell Collection,
Glasgow; Royal Conservatoire of Scotland, Glasgow; Steierisches Landesmuseum,
Graz; Gemeentemuseum, The Hague; Händelhaus, Halle; Leblanc Corporation,
Kenosha, Wisconsin; Musica Kremsmünster; Musikinstrumenten-Museum, University of Leipzig; Music Museum, Lisbon; Boosey and Hawkes, London; Horniman
Museum, London; Royal College of Music, London; Victoria and Albert Museum,
London; Musikinstrumenten-Museum, Markneukirchen; Civic Museum, Modena;
Bayerisches Nationalmuseum, Munich; Deutsches Museum, Munich; Stadtmuseum, Munich; Metropolitan Museum of Art, New York; Newtongrange Silver
ix