The 2014 trumpet making workshop will be held May 19 - 23, and May 26 - 30, 2014 at the workshop of Seraphinoff Historical Instruments, Bloomingtom, IN
See "Workshops" for registration details.
New Models. Early Classical orchestra horn after Anton Kerner. Also the Courtois model has been redesigned after an original Courtois Neveu Aîné (Paris, ca. 1820) recently acquired by Seraphinoff Hist. Instruments.
Featured New Article: Re-inventing the classical orchestra horn
Seraphinoff Historical Instruments 1983 -2013
Celebrating 30 years of the finest reproductions of baroque, classical, and romantic period horns.
A Little History – After learning metalworking, and instrument making skills in the mid 70s, and making valveless horns using modern horn parts, in the early 80s I began to seriously pursue the production of copies of historical horns, reproducing them in precise detail in all of their dimensions, material thicknesses, and construction methods. The first true reproduction made with this approach was the Raoux orchestra horn model copied from a horn in the collection of Louis Stout, which I began making in 1983. The earliest of these instruments went to players such as Francis Orval, Jeff Snedeker, William Purvis, Kristen Thelander, and many others. As time went on the importance of historical bell construction (one piece construction, or single piece with a gusset) became clear. and I began making other models with more historical methods of construction. The addition of models of horns to cover other periods needed in the period instrument world was also needed, and this led to the addition of three models of earlier 18th century baroque horns, and several choices for the classical period. Other issues of importance to the determination of the physical form and musical qualities of the early horn, such as reproducing historical mouthpieces came into the process, and constant research has kept the process alive over the past 30 years. As a result I was able to develop the proper instruments for my own use as a player, and supply others in the field of historical horn performance with the tools that they needed to function well in period instrument ensembles.
As far as all of the research has taken me in helping to make finely crafted instruments and establish an idea of what the early horn was and how it sounded, there continues to be more work ahead. Projects in the works include more work with historical mouthpieces, and the production in the next year or two of prototypes of fixed pitch orchestra horns from the baroque period, since the evidence would suggest that most horns up until the middle of the 18th century were fixed pitch horns without crooks.
Thank you to all who have taken an interest in my work and instruments over the past 30 years!