Carl Czerny

This essay, the third in a trilogy on Anton Weidinger, focuses on the performance of Haydn’s Trumpet Concerto in E-flat Major with an orchestra and a keyed trumpet. This realization occurred on January 20, 2024. As the author’s technical proficiency with the keyed trumpet improved, it became clear that mastering the instrument was insufficient; coordination with the orchestra was essential for a historically informed, coherent, and viable performance. This led to an in-depth investigation into various aspects necessary for unifying criteria in articulation, dynamics, timbre, and style. This study underscores the importance of considering historical context, instrument characteristics, and performance practices of the classical period to achieve a faithful rendition of Haydn’s work. The essay explores fundamental knowledge elements required for an authentic performance, addressing unresolved questions and ambiguities surrounding the concerto. Key areas of focus include the instrument’s timbre, dynamic contrasts, appropriate use of vibrato, tempi considerations, and articulation practices, providing insights and reflections that contribute to a deeper understanding of Haydn’s masterpiece for the keyed trumpet.