Specific Characteristics of the Original Hoch- und Deutschmeister

Adapted copyrighted text from: Raimund Sulz, Hoch- und Deutschmeisterkapelle(n) from 1918 to 1945 – Representation of “old” values in a new era (unpublished diploma thesis, University of Vienna, 2018).

The Original Hoch- und Deutschmeister are the last historically authentic representatives, in terms of wind band tradition, of the illustrious military music of Austria-Hungary. This tradition possessed several distinctive features and unique characteristics that are worth mentioning. This applies in particular to the instrumentation: to this day, E-flat trumpets (now almost entirely disappeared) and valve trombones instead of slide trombones are still in use, as well as the traditional helicon instead of the usual bass tuba.

Equally distinctive is the tuning of the instruments used. What gives the Hoch- und Deutschmeister their special flair is the so-called “high pitch” tuning, which is a semitone higher than that of most other ensembles. This originates from the old field and military bands, which had to be heard outdoors and by marching troops.

In the 19th century, there was a gradual desire to establish a standardized international pitch, especially since pitch varied greatly even within individual countries. In Italy, for example, distinctions were made between “Roman,” “Venetian,” and “Lombard” pitch. After the invention of the “tonometer” by Schibler in 1834, the debate over an internationally standardized pitch was sparked for the first time. However, initial success was limited: in 1858, a first pitch conference took place in Paris, and its result (a′ = 435 Hz) was mandated throughout France by Napoleon III. Internationally, however, this led to the opposite of what had been intended. In England and Germany, there was resistance to adopting a French standard. The “Babylonian confusion of orchestral pitch levels” persisted, leading to another conference in Vienna in 1885.

As part of this, considerations were also made regarding a standardized pitch within the Austro-Hungarian regimental bands. The famous Viennese music critic Eduard Hanslick was among the first to advocate the introduction of the high pitch that later became characteristic of military brass music and deviated from the international standard. He argued that music performed outdoors needed to be audible over long distances and that consideration for vocal parts—important in opera and theater—was negligible in this context. Furthermore, cooperation between civilian and military bands did not correspond to the true purpose of military music. He therefore described this high pitch as a “justified peculiarity.”

After surveys of pitch levels among various military bands, a military pitch conference was convened in 1891, where comparisons were made between bands tuned at normal pitch and those at high pitch. On the proposal of military bandmaster Karl Komzák, it was decided to abandon normal pitch and set a′ at 921.733 simple vibrations—exactly a semitone higher than the pitch of 870 vibrations established in Vienna in 1885. The brass formations of regimental bands were subsequently required to adhere to this decision.

Other countries also considered whether this high pitch was practical. Gottfried Piefke, composer of Preußens Gloria and the namesake of an Austrian pejorative term, advocated its introduction in the Prussian army, but without success. Gradually, standard pitch became established in the military bands of other European countries, and the “Turkish tone” of the Austro-Hungarian military bands became an unmistakable hallmark. This development also influenced civilian wind music, and high pitch remained predominant in Austria until after the Second World War. String ensembles, however, were excluded from this[1]:

In the “Original Hoch- und Deutschmeister” band of the Imperial and Royal Infantry Regiment Hoch- und Deutschmeister No. 4, not only has a historical uniform been preserved, but—unlike other Austrian military tradition bands such as the Tyrolean Kaiserjäger—the old Austrian instrumentation and tuning have also been maintained. The Deutschmeister are the last guardians of the original Austrian military wind music tradition, and this will continue to be a hallmark of the famous Deutschmeister band in the future.

This unique Austrian sound tradition has survived to this day in only a few other associations and music groups, which, however, have a different repertoire:

• Musikverein Hochstrass im Wienerwald (Lower Austria){5]
• Musikverein Althofen in the Murau district (Styria)
• the “Emaus-Jünger” from Ebenau (Salzburg)
• the “Sonntagsmusi” from the Mürztal (Styria)[6]
• the “Pulkautaler Kirtagsmusik” from Lower Austria (re-established in 2013)[7]
• and the “Strebitzer” from the Mostviertel (Lower Austria)[8]