The crumhorn is a double reed instrument in the woodwind family that was often used during the Renaissance period. In recent years, especially since the 1960s, people have become interested in early music again, and crumhorns are now being played once more. It was also known as krummhorn, krumhorn, krum horn, and cremorne.

Terminology

The name comes from the German word Krumhorn (or Krummhorn or Krumporn), which means "bent horn." The first part of the word is related to the Middle English word crumpen, meaning "to bend, fold, or wrinkle." This meaning can still be seen in modern English words like "crumpled" and "crumpet," which is a type of wrinkled cake. The French term cromorne, when used correctly, refers to a different kind of woodwind instrument. However, the term cromorne is often mistakenly used to mean the same thing as crumhorn.

It is not certain whether the Spanish wind instrument orlo (mentioned in a list from 1559) refers to the crumhorn. However, it is known that crumhorns were used in Spain during the 16th century, and it is likely that orlo describes the same instrument.

In Italy, three other terms are used to describe the instrument, in addition to the similar term cromorno. These terms are storto, cornamuto torto, and piva torta.

Description

The crumhorn is a capped reed instrument. It is built similarly to the chanter of a bagpipe. A double reed is placed inside a long windcap. When air is blown through a slot in the windcap, a musical note is produced. The pitch of the note can be changed by opening or closing finger holes along the pipe. One unique feature of the crumhorn is its shape; the end of the instrument curves upward like the letter "J." This curve is only for decoration and does not affect the sound.

Crumhorns produce a strong buzzing sound, but they are quieter than similar instruments like the rauschpfeife and shawm. They have a limited range, usually covering a ninth. While it is possible to make the reed produce a note a twelfth higher than the lowest note, this is very difficult because the reed is not held in the mouth. In practice, all notes are played from the fundamental series. Some larger crumhorns have additional holes, keys, and sliders that extend their range downward. The pitch can also be lowered by a perfect fourth through a technique called "underblowing," which involves reducing breath pressure. Some modern crumhorns use two keys to extend their range upward to an eleventh. Crumhorns can be played in all musical notes using cross-fingerings, except for the minor second above the lowest note.

Different sizes

Crumhorns have a limited range, so music for them is often played by a group of instruments with different sizes and pitches. This group is called a consort of crumhorns. These instruments are designed to copy the sound of a vocal quartet, which includes soprano, alto, tenor, and bass voices, just like many Renaissance instruments. Examples of crumhorns include both higher- and lower-pitched versions, with the great bass being the most commonly used. Modern crumhorns are usually tuned to the notes C and F, while Renaissance altos were often tuned to G, maintaining a musical distance called a fifth between different sizes.

Literature for crumhorn

Two sets of music manuscripts for the Prussian court band include pieces for crumhorns, such as an anonymous version of "D’Andernach auff dem Reine." Johann Hermann Schein included a piece called "Padouana for Four Crumhorns" in his collection Banchetto Musicale (1617). Thomas Stoltzer wrote in a letter that he had created a version of Psalm 37, "Do Not Be Angry" (1526), where six of the seven parts could be played on crumhorns. Michael Praetorius suggested using crumhorns in some of his sacred vocal music instead of trombones, dulcians, and other instruments.

In the novel Bruno and the Crumhorn by Ursula Dubosarsky, two children, Bruno and Sybil, accidentally learn to play the crumhorn.