Tine Thing Helseth and the Mystique of Circular-Tone Trumpet

A    way of describing the difference is that the [geometric bore profile of the—] American instrument produces a ‘circular’ tone with a lot of brilliance, while the German trumpet [bore profile is—] a more ‘oval’ one: the German tone is ‘wider’ and less brilliant... In Scandinavia we have mostly made use of the American trumpet. Its brilliance is part of the so-called Scandinavian sound.”
  —  Tine Thing Helseth, interview in MIC Norsk musikkinformasjon, APR-2009.

T he Norwegian trumpeter Tine Thing Helseth does miraculous things. I especially admire her treatment of Johann Baptist Neruda’s concerto—which Tine manages in a way that is both elegant and viceral. Her playing of all of the brass war-horses is wonderful, but this Neruda piece for her especially epitomizes the concept of ‘circular’ tone.



    [50-sec clip, Tine Thing Helseth & Norwegian Chamber Orchestra, Johann Baptist Neruda, ‘Concerto in E-flat – II – Largo’, 1.6MB MP3]



    [50-sec clip, Tine Thing Helseth & Norwegian Chamber Orchestra, Johann Baptist Neruda, ‘Concerto in E-flat – III – Vivace’, 1.6MB MP3]



    [50-sec clip, Tine Thing Helseth & Norwegian Chamber Orchestra, Johann Baptist Neruda, ‘Concerto in E-flat – III – Cadenza’, 1.6MB MP3]

H    ave we ever before heard this level of melancholia, such as what we heard in the Andante movement, or in the flowing and lively dance of the finale movement? When have we ever heard anyone run that brilliantly up and down along the scale? And that, on a trumpet! On this instrument that was formerly used to open splendid doors and gates for worldly rulers and clerics...”
  —  Lippische Landzeitung, DEC-2007.

T he effortlessness and honesty of Tine’s articulation... The weightlessness of her breathing... The decisions about the emphasis of each note, including sweet little appoggiaturas... Interpretations filled with emotional depth as well as cerebral insight, musical body in harmony with musical mind in harmony with well-matched musical instrument. Bak skyene er himmelen alltid blå!

J ohann Baptist Georg Neruda (Czech: Jan Křtitel Jiří Neruda) is curiously obscure, and even the dates of birth and death for him are not clear (given as ca. 1707 and sometime in 1780 in Dresden by the Grove Dictionary). Raised in a musical family in what’s now the Czech Republic, Jan/Johann spent some years as a violinist and conductor in Prague and Germany, after which he became Konzertmeister of the court orchestra in Dresden. His works include 18 symphonies, 14 instrumental concertos, plus several sonatas, sacred works and an opera.

N eruda composed this virtuosic concerto for the valveless ‘corno da caccia’ in the clarino register, which requires “hand-stopping” and other tricks to manage the tessitura and chromatics. And there are a number of historical trumpet players who do perform the piece on baroque-design instruments.

B ut playing it on a modern, valved trumpet—American or otherwise—presents a different set of challenges, for fingers, tongue, embouchure, and lungs. And valves enable a wider latitude of interpretive choices—ones that Tine explores beautifully.

S    he plays with radiance strong enough to light up the entire hall. Her embouchure is light and her technique impressive. Each note is marvellous and her dynamics are based on natural and deeply felt musicality. ...she showed us just how wonderfully a trumpet can sing... It sounded like a song, but there was no need for words.”
  —  Zürcher Landzeitung, JUN-2008.

T ine was born in 1987 and started to play trumpet at age 7. She is currently studying at Barratt Due Music Institute in Oslo with Arnulf Naur Nilsen. She has appeared as a soloist with, among others, Wiener Symphoniker, Vienna Chamber Orchestra, Zürcher Kammerorchester, Zürcher Kammerorchester, Staatsphilharmonie Rheinland Pfalz, Cappella Cracowiensis, Shanghai Symphony Orchestra, Camerata Nordica, Nordwestdeutsche Philharmonie and all the major Norwegian symphony orchestras. Tine’s website chronicles her many performance awards and contest victories. She has performed at SHMF and other festivals. Tine is also leader of the brass ensemble, tenTHING. Every opportunity to hear this fine artist perform is magic. Check out her website for current performance schedule.

S    he [has] calmness, balance, musicality and technical mastery. She has vigour, confidence and natural authority—and her instrumental ‘nerve’ commands the attention of listeners...”
  —  Aftenposten, JUL-2006.

• Tine Thing Helseth website
  
• Tine Thing Helseth on MySpace
  
• Helseth T. Trumpet Concertos by Haydn, Albinoni, Neruda & Hummel. (Simax, 2007.)
  
• TenThing website
  
• Barratt Due musikkinstitutt, Oslo
  
• Det Norske Kammerorkester (Norwegian Chamber Orchestra) website
  
• Neruda J. C^to in E-flat. [score, 23pc chamber orchestra string parts 6-5-5-4-3, trpt] Tarr, 1997. (MusicaRara.com)
  
• Neruda J. C^to in E-flat. [piano reduction, trpt] Tarr, 1997. (MusicaRara.com)
  
• Neruda J. C^to in E-flat. [piano reduction, trpt arrangement] Rondeau, 2008. (Bb trpt and Eb trumpet pdfs)
  
• Tine Thing Helseth at Pro Arte Artist Management, Bergen
  
• Tarr E. Neruda's Concerto for horn (or trumpet). Brass Bulletin 1990; 70:36-45.
  
• Historic Brass Society website
  
• International Women's Brass Conference
  
• International Alliance for Women in Music
  
• International Trumpet Guild