Holton-Clarke Miracle Model [Long] Cornet

near mint – an extraordinarily beautiful instrument
gold plate
1919-1920 manufacture: from the Holton Chicago/ early Elkhorn era at a time that Holton was a major supplier of instruments to the Chicago Symphony Orchestra
reverse leadpipe
large bore
Bb instrument with quick change to A
the “loop” which could be placed on the bell side [exit side] or the mouthpipe side [entry] – or both as with some Harry B. Jay cornets of that era – is visible on the entry side
Sixteen and one-half inches in length with a bell four and one-half inches in diameter

Wikipedia says of the “Clarke” who gives this cornet its model name

Herbert Lincoln Clarke (September 12, 1867 – January 30, 1945) was an American cornetist, feature soloist, bandmaster, and composer. He is considered the most prominent cornetist of his time.^[1]

Clarke’s legacy includes composing a portion of the standard repertoire for the instrument, many recordings, as well as a seminal school of playing which emphasized not only technical aptitude, but also increased warmth and lyricism of tone. He also produced several method books that are still used by brass students.

Clarke [who is also somewhat notorious for having written in 1921 to a young Elden Benge that the trumpet as distinct from the cornet was merely a “foreign fad”] hailed from Toronto Canada, on the American Great Lakes: this cornet is engraved as a Toronto delivery cornet sold by the Canadian Holton agent, and was produced by Holton after Holton’s move to Elkhorn circa 1919-1920 [according to the serial number on the valve block and the matching serial numbers on each valve.

Recently [Feb 2025] I took this Holton Miracle Cornet, along with a Martin Deluxe cornet, and a 1918 Conn New Wonder cornet to two hours of band practice. Holton’s 100 year old claims of perfect pitch, instant effortless switching from fortissimo to pianissimo, superb tone, easy blowing, and enormous flexibility still hold good for this instrument.

Tone is warm and feel is responsive and lyrical

1918 Conn New Wonder cornet

# 155865

1918 Conn New Wonder cornet – this came with a bag marked “old valves”. The feel and operation of the valves is excellent, and this plays beautifully.

Brass historian Niles Eldredge [Eldredge, N. 2002. A Brief History of Piston-valved Cornets. Historic Brass Society Journal 14:337- 390 –
Conn’s New Wonder. Victor New Wonder, or 80A (with variant versions, such as the slimmer, more trumpet-like 8A of the 1930s—…) was unusual primarily because of
its hump-shaped loop on the lower section of the bell just to the rear of the first valve. With a micrometer wheel, the instrument was intended as a bell-tuner, though there was also a forward-directed slide on the leadpipe that was, at least through the 1920s. equipped with a stop rod for quick-to-A: some of the earlier instruments also were equipped with a linkage system that adjusted valve slides when the change was made between Bb and A. Bell lengths varied somewhat, but 163/,” was common in the 1920s. Never to my knowledge copied by anyone else,”’ this model was sold at least through the 1960s; older ones in good repair are the favorites of many modern players in the traditional jazz idiom.

Showing the tuning mechanism [which it’s quite unusual to find intact] – next photo shows the mechanism from the bottom

[above] 1918 Conn New Wonder Mechanism from underside

Goldwash bell inner

above – Pearly Valve tops

[above] Opera glass tuning wheel.

Conn’s constant innovation [referred to by Niles Eldridge as a pattern of almost constant tinkering, production of these [[Conn’s]] unusual configurations both within single firms—and of course among competing firms—more likely represents foment in stylish exterior design than any real mechanical/acoustical improvements.]

Conn’s 1918 New Wonder cornet – excellent longlasting silver finish, excellent valves, and easy bell tuning, as well as its place in the evolution of other brass [some would regard this as part of the trumpetization of cornets which was occurring by degrees in the late 19thC and the first half of the 20th C amongst American brassmakers].

One of Conn’s successful classics [thanks to innovation?] still in great playing condition – sounding great – over a hundred years after it was built.

Rare, complete, and available