Bach Stradivarius 239 CML S/n 592526 Looks to be rarely ever played. ML Bore (.459) No Case, No Mouthpiece.
25C PIPE Some resistance, effective in centering or tying together tone production. Standard; The right leadpipe for most people
239 BELL Big, Dark, Sound. Considered the ’37’ bell of for C and D trumpets. The so-called ‘Standard.’ Rich, big, dark sound. Standard, has a big sound that is big and, yes, ‘FAT’ sounding! If this is the kind of sound you want you can’t go wrong. For those who need a negative comment, it takes more endurance to play the 239 then the 229.
Trumpet in C
Every symphony trumpeter must have a C trumpet available and should use it a good part of the time – if not altogether. In France, C trumpets are used exclusively in symphony orchestras, and to a great extent also in Germany and particular Austria. The trumpet section of the Boston Symphony Orchestra is famous for it fine performances on C trumpets. A good many modern compositions are very strenuous to play when written in the high register and a trumpeter can perform these parts with greater ease and more effectively by using a C trumpet rather than forcing the high tones on a Bb trumpet. Our leading trumpet players are using C trumpets more and more. The instrument is particularly effective in Wagner’s ‘Parsifal Prelude,’ Strauss’s ‘Thus Spake Zarathustra,’ ‘Symphonia Domestica,’ Tone Poems and other compositions; Brahms’ symphonies numbers 1,2, and 4; Mendelssohn’s ‘Italian’ and ‘reformation’ symphonies; Dvorak’s ‘new World;’ Debussy’s ‘festivals;’ Stravinsky’s ‘Fire Bird;’ in Respighi’s ‘Pines of Rome,’ and all chamber music, because of the light singing tone of the instrument.
