When Franz Joseph Haydn composed his Trumpet Concerto in E-flat Major in 1796, he was at the forefront of a thrilling new technical experiment.
Traditionally, the valveless natural trumpet was limited to the pitches of the overtone series. In the lower register, these pitches amounted to bugle call notes. In classical symphonies, trumpets were used sparingly to punctuate climaxes with celebratory fanfares. Only in its highest register could the natural trumpet access the scale. Baroque composers frequently exploited this fiendishly difficult tonal stratosphere, as can be heard in Bach’s Brandenburg Concerto No. 2.
Haydn’s Trumpet Concerto was written for Anton Weidinger, the virtuoso trumpeter of the Imperial Court Orchestra in Vienna, who was influential in the development of a keyed trumpet. With flute-like keys, the instrument was tonally uneven. The modern trumpet, with its piston valves, did not become standard in orchestras until around 1840. Still, Weidinger’s prototype allowed the trumpet to play chromatically for the first time.
The Concerto’s first movement (Allegro) begins with an introduction filled with the traditional trumpet “bugle call” fanfares. Then, as the solo section begins, the trumpet’s new voice emerges. It’s a carefree melody which floats through the instrument’s middle register, along the way conversing gently with the woodwinds and other instrumental voices. As if to say, “look what I can do,” the trumpet glides through a descending chromatic line that would have been impossible previously.
The second movement (Andante) is a charming, stately dance. Softly, the trumpet sings the beautiful melody as if it were a lullaby.
The final movement (Allegro) is a jubilant rondo. As if to celebrate the trumpet’s newfound freedom, the development veers into adventurous modulation. The final moments bring one of Haydn’s trademark musical jokes.
A note to subscribers: Recently, audio links have not been transferring to subscriber notification emails. Please click on the title link above to enter The Listeners’ Club website for access to recordings.
I. Allegro:
II. Andante:
III. Allegro:
Five Great Recordings
- Haydn: Trumpet Concerto in E-Flat Major, Hob.VII e/1, Alison Balsom, Thomas Klug, Die Deutsche Kammerphilharmonie Bremen Amazon
- Tine Thing Helseth and the Norwegian Chamber Orchestra
- Maurice André with Hans Stadlmair and the Munich Chamber Orchestra
- Wynton Marsalis with Raymond Leppard and the National Philharmonic Orchestra
- Adolph Herseth and the Chicago Symphony Orchestra
Fantastic. Such a great concerto. So interesting to learn about the history of the trumpet too!