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| Keep and play H.C. Brown's Boston 3 Star, or donate for museum display in Boston? |
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scipioap
Veteran Member
Joined: 08 Aug 2012
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Location: Waltham, MA
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 Posted: Tue Apr 26, 2016 11:53 am Post subject: Henry Brown's Boston 3 Star |
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So it seems I just acquired Henry C. Brown's Boston 3 Star cornet & kit. Picked it up from an antique shop up near Gloucester, which claims to have acquired it from a local estate sale. Suffice it to say they didn't know what they had. Its serial dates it to around 1907, when Brown was 80 yrs old, so Boston Musical Instrument Manufactory likely gifted it to him for his years of endorsement, evidenced in BMI's catalogs. In their 1869 catalog, the first testimonial reads as follows:
| Quote: | Boston, Sept. 24th, 1866
I take great pleasure in saying that the Bb Piston Cornet which you recently sent me for trial proves in every respect highly satisfactory - particularly in tone and tune; in fact, it is one of the best instruments of the kind I ever used. I can confidently recommend it to my friends, and the musical public.
Respectfully yours,
Henry C. Brown,
Leader of Brown's Brigade Band |
And later:
| Quote: | Boston, Nov. 23rd, 1868.
After having a season's experience in the use of your new Eb Cornet, (small pattern) and also vour improved Bb Piston Cornet, I feel that it is my duty to express to you my views in regard to the above-named instruments. Having had fifteen years experience in playing the Cornet and during that time have used instruments made by the principal European makers, and also those in the United States. I have at last fully decided that your instruments are the best made in the world; for these reasons: first, because they are the best in tune; second, on account of the purity of the tone, and last, the fine and thorough manner in which you finish vour instruments; and, in conclusion, I assure you I will use my influence in recommending them to my pupils and Cornet players in general. Yours most respectfully,
HENRY C. BROWN,
Leader of Brown's Brigade Band. |
I knew of Henry Brown (1827-1912), but a bit more research revealed not only was he a famous cornet soloist and bandmaster in Boston, but a prolific instructor. He was likely the first professor of cornet at the Boston Conservatory (now merged with Berklee). Both he and the conservatory were known for providing instruction regardless of color or gender. Among his many students was the first principal trumpet of the BSO, Ezra Bagley (1881-1886), as well as in Brown's own words, the "world's greatest colored cornet soloist," P.G. Lowery. Following is one of several ancient news articles (Lewiston Journal, 1938) I digged up about Brown:
| Quote: | At that time, Henry Brown of Boston, the founder and director of Brown's Brigade Band of Boston, was turning out his many "Brown taught" pupils. What shall I write of Henry Brown? Without doubt he was the greatest teacher, the greatest living exponent of the cornet of his day and perhaps any day. Scores and scores of finished cornetists were taught and rounded out, soloists and virtuosos. He could and did expound the correct methods and "know-how" of cornet playing as no other teacher before or since. You could detect a "Henry Brown taught" cornetist before he had played eight bars. They all played the same way, the right way, the correct way and perfectly phrased. I mention some of Henry Brown's pupils: The great Walter Emerson; Ezra Bagley, who, it is said, struck high C with the cornet suspended from the ceiling on a string with no hands on the instrument; Mr. Perkins; Mr. Butler, solo cornet for Jean Missud for many years; Frank Burnham of Portland; Frank Knapp of Norway; Edward Adams and Frank Tuck of Bangor; Maine's own March King, R.B. Hall of Waterville and last but not least, our own and one of Maine's truly great cornetists, G. Dana Holt of Dixfield.
Whenever Brown's Brigade Band of Boston appeared on parade you always noticed Horace N. Johnson, playing E-flat cornet, marching at the side of Henry Brown. Henry Brown knew a good cornetist and he knew the ability of Horace Johnson as he was Mr. Johnson's teacher. Proudly, we add the name of Horace N. Johnson to the list of Henry Brown's brilliant students and pupils. Mr. Johnson's great success with all of his pupils in the twin cities was his ability to teach and impart the methods of Henry Brown.
Second hand knowledge, from teacher to pupils and disseminated on and on over the country. Second hand? Aye, verily so. But what valuable knowledge. Knowledge of the right way, the correct way, and once acquired, the easiest way.
In order to give the highlights of Horace Johnson's career as a musician, it seemed necessary to write a little of Henry Brown to show that Mr. Johnson studied under a great teacher of the cornet... |
And another article from the Musical Messenger (1916):
| Quote: | | Twenty years ago I was a pupil of Henry Brown, of Boston, then an old man, but doing brilliant work in the Tremont Theater. Sometimes I would sit in the orchestra with him. Sometimes I had substitute work, and sometimes I played in a stage band at that theater. The second cornet player, named Herrick, a mighty good and correct man, was evidently one of these supersensitives in the matter of pitch. He talked much about these false tones. To correct them he had a rod soldered to each of the first and third valve slides. The rods terminated in rings into which he placed his thumb and little finger of the left hand to move the slides as occasion required. I used to watch with awe and wonder for the slides to twitch out and in, but could never detect it. I know Brown used the cornet in A sometimes, but, as The Critic says, he was indifferent about tuning his slides, yet always in tune. |
Following is a photo from The Boston Globe archives. Caption: "August 1876: Brown's Brigade Band serenades a group at Boston's Quincy Market in 1876, the 50th anniversary of the opening. Henry Brown, the founder and director of the Brown's Brigade Band of Boston was a famous cornet player and his band was sought after for many events around the country."
And finally, photos of his 3 star, showing the extra bell engraving "Made expressly for / and approved by / H. C. Brown". My dilemma is, rather than play this one, should I donate it to my curator acquaintance at Boston's Museum of Fine Arts for their historical instrument collection? He's also volunteer curator for the collection at Boston's Symphony Hall. As a Boston historical treasure, it seems this should be on display, or rather played by someone like Tom Rolfs. Also I'm afraid this might get lost for another 100 years after I'm gone.
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Last edited by scipioap on Sat Jul 08, 2017 9:27 pm; edited 2 times in total |
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jimpops
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Joined: 30 Aug 2012
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Location: Morton Grove, Il.
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| Posted: Tue Apr 26, 2016 12:05 pm Post subject: |
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If it is in good playable condition keep it for a while to play and get a feel for a good vintage horn. Satisfy your curiosity and then go ahead and donate it for its history.
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Dale Proctor
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| Posted: Tue Apr 26, 2016 12:38 pm Post subject: |
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The mouthpiece is newer, since it has "Boston Musical Instrument Company" stamped on it. That would place it at 1913 or later. Older instruments are stamped "Boston Musical Instrument Manufactory". What name is stamped on the bell?
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cheiden
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| Posted: Tue Apr 26, 2016 12:57 pm Post subject: |
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In the position of the OP I'd probably reach out to the museum(s) in question and confirm their level of interest before I decided how to proceed.
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wvtrumpet
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| Posted: Tue Apr 26, 2016 2:17 pm Post subject: |
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No advice for you. You have to decide, it's yours! That being said, what an amazing work of history!!! You Sir are a lucky man!!!!!!!!!!
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tom turner
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| Posted: Sun May 01, 2016 12:28 am Post subject: |
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I love my Boston cornets. Wonderful instruments indeed!!!
However, I can't help but wonder if Brown's cornet needs to become part of Boston's musical history and return to a museum there to be viewed and admired for what it represented back in the day . . . and be enjoyed long after we are all gone too. That is a special specimen, more to history than to just playing a Boston cornet today.
I applaud you for considering the idea.
All the best,
Tom
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Irving
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| Posted: Sun May 01, 2016 5:30 am Post subject: |
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| If the cornet is a great player, then you have to play it. What good will it do anyone behind glass in a museum? On the other hand, if it doesn't play well, then you can do whatever you want,with it, in which case it doesn't really deserve to be in a museum anyway. |
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rockford
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| Posted: Sun May 01, 2016 6:01 am Post subject: |
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I've got two of these that I'll be offering in the marketplace soon. They're nice instruments but play much differently than modern cornets. Small group Dixieland and traditional brass band are good uses for these instruments.
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Bill Siegfried
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Oncewasaplayer
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| Posted: Sun May 01, 2016 7:37 am Post subject: |
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I recently toured the Boston Museum of Fine Arts. In their musical instrument gallery they had a number of antique cornets on display and I hope you'll all visit to see them. Check out this horn:
http://www.mfa.org/collections/object/cornet-50529
Your curator friend can tell you if they'd be interested in this horn. If so, you could add a note to your will sending the horn to them at that time and perhaps your family will enjoy a small tax credit.
However, I find it disturbing when a great instrument becomes an object that's only viewed. Musical instruments are meant to be played. It makes me a bit sad to see these instruments knowing they are silent. It's a bit like visiting a graveyard.
Keep that horn for a while. Play it. Enjoy it. Let other people play it. It's a tool for making music. Let it sing.
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John Mohan
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| Posted: Sun May 01, 2016 8:18 am Post subject: |
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I think you should enjoy it, but bequeath it to the museum in your will. And contact the museum now and let them know what they will be receiving (hopefully in the very distant future).
Best wishes,
John Mohan |
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rjimison
Regular Member
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Location: Metro Detroit
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| Posted: Sun May 01, 2016 9:37 am Post subject: Boston cornet |
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Yet another option is to donate it to a band that uses original instruments in historic performance. There are several in the US (I play in one in Michigan, and am not trying to influence your decision) that re-create performance of that era, using instruments of the era. That way, the instrument is being played rather than sitting inside a glass case sealed off from its purpose.
r |
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chuck in ny
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Joined: 23 Sep 2006
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Location: New York
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| Posted: Mon May 02, 2016 7:20 am Post subject: |
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| donate. many americans are civil war buffs with strong 19th century feeling and sentiment. the time and history are precious and the instrument should be a testament to back in that day. there are oodles of very nice modern cornets to play. oil it up and let it go. life is always doing this to us, giving us the challenge to be a bigger man. |
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FredYoung
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Joined: 10 Mar 2020
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| Posted: Fri Mar 13, 2020 8:28 am Post subject: |
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Recently, I saw on comments on your website regarding a Boston Musical 3 star cornet that has special engraving relating to H.C. Brown. I offer the following information about another 3-Star having the same engraving.
My father’s father worked in the shoe shops by day and played cornet in the theater bands in Lynn, MA about the turn of the (1900) century. The Boston Musical 3-Star cornet that he played has the very same engraving – “Made expressly for and approved by H.C. Brown”. From the serial number ( 12417 ) it was made in 1894. The 3-Star in the referenced submittal to Trumpetherald is thought to have been made around 1907. Because of the date and configuration ( note the A change) of the instrument in my possession, Osmun ( the premier restorer of brass instruments in the Boston area) told me that they believe that this instrument was the personal horn of H.C. Brown.
Apparently, Brown became aware of the quality of these fine cornets in or about 1866, as quoted by him below.
“Boston, Sept. 24th, 1866
I take great pleasure in saying that the Bb Piston Cornet which you recently sent me for trial proves in every respect highly satisfactory - particularly in tone and tune; in fact, it is one of the best instruments of the kind I ever used”.
The 3-star that I have is in mint condition. I play it about one a month in a 17-piece orchestra and can attest to the quality noted by H.C. Brown.
I have photos but don't know how to attach them.
I don’t know how to compare or contrast the two instruments here noted and would be interested in any light that you or your subscribers could shed on it. |
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