In this episode of The Musical Archeologist, Craig Dabelstein explores one of Hermann Eichborn's strangest and most revealing stories: a world in which playing the trumpet was not merely a musical act, but a matter of privilege, authority, and professional control.

Eichborn tells of a dispute in Hanover where court trumpeters allegedly broke into a town musician's house, confiscated his trumpet, and even knocked out several of his teeth — all in the name of defending their professional rights.

Behind the absurdity is a serious forgotten idea: musical instruments once carried legal, social, and ceremonial power. The trumpet was not just a brass tube. It could be a badge of rank, a signal of authority, and a protected professional privilege.

This episode asks what happens when musical standards, professional identity, and social status become tangled together — and whether "protecting the art" can sometimes turn into musical policing.

The Musical Archeologist: Forgotten Ideas from Music's Past Written and presented by Craig Dabelstein Music composed by Jeffrey A. Young

This episode is based on ideas from Hermann Eichborn's On the History of Instrumental Music, translated by Craig Dabelstein and published by Maxime's Music.

Buy the book: https://books.by/maximes-music

Podcast webpage: https://craigdabelstein.com/podcast/

What happens when a critic is so overwhelmed by a pianist that he reaches for storms, devils, fireworks, and dancing skeletons?

In this episode of The Musical Archeologist, Craig Dabelstein returns to Oscar Comettant's 1874 portrait of Francis Planté to explore a lost style of music criticism: extravagant, comic, passionate, and deeply attentive. Nineteenth-century critics may have written with glorious excess, but they were trying to describe what actually happened in the music.

This episode reflects on criticism as a form of musical attention — not mere judgement, not polite publicity, but listening turned into language.

Written and presented by Craig Dabelstein.

Music composed by Jeffrey A. Young.

Based on Oscar Comettant's Francis Planté: Portrait musical à la plume.

Podcast webpage: https://craigdabelstein.com/podcast/

Buy the book: https://books.by/maximes-music

Craig Dabelstein: https://craigdabelstein.com/

Maxime's Music: https://www.maximesmusic.com/

YouTube: https://youtube.com/@maximes-music

A score is not music. It is grammar waiting to become speech.

In this episode of The Musical Archeologist, Craig Dabelstein returns to Oscar Comettant's 1874 portrait of the French pianist Francis Planté to explore the role of the performer — and the conductor — as interpreter. Planté was criticised for being "only" a virtuoso and not a composer, but Comettant turns that criticism upside down, arguing that performers keep the works of the masters alive.

Drawing also on Dr David Whitwell's idea that "Music is a Verb," this episode reflects on the score as a silent trace of musical thought, and on the interpreter as an advocate for composers who can no longer speak for themselves.

Written and presented by Craig Dabelstein.

Music composed by Jeffrey A. Young.

Based on Oscar Comettant's Francis Planté: Portrait musical à la plume.

Podcast webpage: https://craigdabelstein.com/podcast/

Buy the book: https://books.by/maximes-music

Craig Dabelstein: https://craigdabelstein.com/

Maxime's Music: https://www.maximesmusic.com/

YouTube: https://youtube.com/@maximes-music

Before recordings could preserve a performance, a great pianist might become famous across Europe—and then almost disappear from musical memory.

In this episode, Craig Dabelstein explores Oscar Comettant's portrait of the French pianist Francis Planté, a musician whose playing was described not merely as brilliant, but as poetic. What did nineteenth-century listeners mean when they called a pianist a "poet," and what might that forgotten ideal still teach us about musical expression today?

Written and presented by Craig Dabelstein

Music composed by Jeffrey A. Young

Music excerpt: Hector Berlioz, Sérénade de Méphistophélès from La Damnation de Faust, arranged for piano by Ernest Redon; performed by Francis Planté. Recorded for French Columbia at Planté's home in Mont-de-Marsan, France, 3–4 July 1928. Matrix WL 1220-1; issued as French Columbia D 13061.

Based on: Oscar Comettant, Francis Planté: musical portrait with a pen

Translated by Craig Dabelstein

Published by Maxime's Music

Podcast: https://craigdabelstein.com/podcast/

Buy the book: https://books.by/maximes-music

Craig Dabelstein: https://craigdabelstein.com/

Maxime's Music: https://www.maximesmusic.com/

YouTube: https://youtube.com/@maximes-music

Music by Jeffrey A. Young: https://jeffyoung.maximesmusic.com/the-musical-archeologist-suite-2026/

Episode 9: A Dreadful Hullaballoo

Why did one nineteenth-century French musician describe military bands as producing "a dreadful hullaballoo"?

In this episode of The Musical Archeologist, Craig Dabelstein explores Frédéric Berr's criticism of the bewildering variety of instruments found in military bands of his day. With every regiment assembling its own combination of players, no two bands sounded alike, making consistent training, repertoire, and musical standards almost impossible.

Source:

Frédéric Berr, The need to reconstitute the School of Military Music

Translated by Craig Dabelstein

Published by Maxime's Music

Learn more:

Podcast: https://craigdabelstein.com/podcast/

Books: https://books.by/maximes-music

Maxime's Music: https://www.maximesmusic.com/

Music composed by Jeffrey A. Young: https://jeffyoung.maximesmusic.com/

How can you be responsible for a band if you have no power to lead it?

In this episode of The Musical Archeologist, Craig Dabelstein explores Frédéric Berr's surprising criticism of nineteenth-century French military bands: bandmasters were expected to produce excellent performances, yet often lacked the authority to choose their musicians, enforce discipline, or shape the musical standards of their own ensembles.

Berr argued that great music requires more than talented performers. It also requires leadership, responsibility, and the authority to make decisions. His ideas reveal why effective musical organisations depend on clear roles and accountability—a lesson that remains just as relevant for bands and orchestras today.

Source:

Frédéric Berr, The need to reconstitute the School of Military Music

Translated by Craig Dabelstein

Published by Maxime's Music

Learn more:

Podcast: https://craigdabelstein.com/podcast/

Books: https://books.by/maximes-music

Maxime's Music: https://www.maximesmusic.com/

Music composed by Jeffrey A. Young.

What happens when an army's musicians are hired one day, gone the next, and loyal only to whoever pays them?

In this episode of The Musical Archeologist, Craig Dabelstein explores Frédéric Berr's colourful account of the problems caused by freelance musicians in nineteenth-century French military bands. With players constantly moving between regiments, standards became inconsistent, rehearsals suffered, and bandmasters struggled to build disciplined ensembles.

Berr believed the solution was not stricter discipline but a better system: properly trained musicians, clear career paths, and stable organisations that encouraged excellence. It is a fascinating glimpse into the hidden challenges of military music—and a reminder that many of the organisational problems musicians face today are far older than we imagine.

Source: Frédéric Berr, Reconstitute the School of Military Music Translated by Craig Dabelstein Published by Maxime's Music

Learn more: Podcast: https://craigdabelstein.com/podcast/ Books: https://books.by/maximes-music Maxime's Music: https://www.maximesmusic.com/

Music composed by Jeffrey A. Young.

Episode 6: Why Good Bands Need Good Systems

What makes a great band? Talented musicians? Inspiring conductors? Good instruments?

According to nineteenth-century French bandmaster Frédéric Berr, none of these is enough without good organisation. In this episode of The Musical Archeologist, Craig Dabelstein explores Berr's passionate argument that successful musical ensembles are built on clear systems, thoughtful leadership, and well-planned education—not simply on individual talent.

Drawing on Berr's remarkable 1838 proposal to reform France's military music schools, this episode reveals why administration, training, and long-term planning matter just as much as musical ability. It is a reminder that behind every outstanding ensemble lies a system that allows musicians to thrive.

Source:

Frédéric Berr, The Need to Reconstitute the School of Military Music

Translated by Craig Dabelstein

Published by Maxime's Music

Learn more:

Podcast: https://craigdabelstein.com/podcast/

Books: https://books.by/maximes-music

Maxime's Music: https://www.maximesmusic.com/

Music composed by Jeffrey A. Young.

Episode 5: Why Do So Many Cultures Invent the Same Instruments?

Why do people separated by thousands of kilometres—and sometimes thousands of years—often invent remarkably similar musical instruments?

In this episode of The Musical Archeologist, Craig Dabelstein explores one of the most thought-provoking ideas from Belgian musicologist Ernest Closson. Is it because musical ideas travelled with migrating peoples? Or do human beings, faced with the same materials and the same musical challenges, naturally arrive at similar solutions?

From flutes and drums to stringed instruments and bagpipes, this episode examines why the history of musical instruments is filled with striking parallels across cultures. It is a fascinating exploration of human creativity, innovation, and the remarkable ways in which music reflects both our shared humanity and our cultural diversity.

Source: Ernest Closson, The Musical Instrument as an Ethnographic Document Translated by Craig Dabelstein Published by Maxime's Music

Learn more: Podcast: https://craigdabelstein.com/podcast/ Books: https://books.by/maximes-music Maxime's Music: https://www.maximesmusic.com/

Music composed by Jeffrey A. Young.

Episode 4: The Strange Story of the Bone Flute

Why would anyone make a musical instrument from a human bone?

In this episode of The Musical Archeologist, Craig Dabelstein explores one of the most unsettling—and fascinating—stories in the history of music. Drawing on the writings of Belgian musicologist Ernest Closson, he uncovers historical accounts of flutes fashioned from human bones and asks what these extraordinary instruments can tell us about the beliefs, rituals, and imagination of the people who created them.

Far from being a tale of mere curiosity or horror, this episode reveals how musical instruments can preserve traces of ancient customs, spirituality, and the enduring human desire to find meaning in sound. It is a reminder that the history of music is sometimes stranger, and far more revealing, than we might expect.

Source: Ernest Closson, The Musical Instrument as an Ethnographic Document Translated by Craig Dabelstein Published by Maxime's Music

Learn more: Podcast: https://craigdabelstein.com/podcast/ Books: https://books.by/maximes-music Maxime's Music: https://www.maximesmusic.com/

Music composed by Jeffrey A. Young.