Trumpet Articles

Trumpet

Haydn, an Unknown Classic

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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.

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Trumpet Horn

Bach and the Others: Eighteenth-Century Trumpeter-Hornists

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In this article, Edward H. Tarr discusses the potential roles that trumpeters may have had during the era of Bach, not merely as trumpet performers but also as proficient multi-instrumentalists, with a particular focus on the horn. Additionally, Tarr conjectures about the plausible nomenclature and purpose of the coiled horn depicted in the famous portrait of Gottfried Reiche and in other pictorial representations from the same period. The publishing rights for this article have generously been granted to the International Journal of Music by Dr. Irmtraud Tarr, the widow of Edward H. Tarr.

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Music

Design and Implementation of Online Music Teaching in the Context of Closed Isolation for Epidemic Prevention and Control: A Case Study of Guangzhou Xinhua University’s Closed Isolation

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Restricted access This content is exclusive to members of the International Journal of Music. Join now for as low as $1.67 per month… …or get

Design and Implementation of Online Music Teaching in the Context of Closed Isolation for Epidemic Prevention and Control: A Case Study of Guangzhou Xinhua University’s Closed Isolation Open »

Percussion Horn Strings Winds

Endless Becoming — The Process of Lifelong Learning in Music amid a Landscape of Expectations, Goals, and Perceived Success

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As a society, we are increasingly driven by immediate gratification. As artists and performers, this terrain can be quite tricky. We are encouraged to make goals and chase them, to dream, to look for inspiration from examples of excellence all around us. Yet it is often those same examples that lead to comparing, judging and negative thoughts. The goals we set in earnest can easily morph into unrealistic expectations, which in turn can lead to disappointment. Artists can find happiness and satisfaction at every level of the industry, yet so many that have found conventional success nevertheless find themselves unfulfilled. Meanwhile, thriving artists full of confidence and passion can be overlooked and judged for not meeting the conventional ideas of success. We’re often told to focus on the process, but in a business overly concerned with one’s lists of achievements and their timely execution of certain skills, it is easy to strive for results and miss the process altogether. In this article, I hope to offer different perspectives on success and how to manage goals and expectations in a healthy way. I offer practical advice for how to bring process-learning into our practice and performances, and how to find peace with every point on each artist’s unique path of endless becoming.

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Music

The Healing Power of Aesthetics

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In this article, the author follows diverse aesthetic, therapeutic and educational facets of musical reception and production. From the levels of meaning of the aesthetic in art and music, she draws a bridge to the analogy between the love of music and friendship. It opens up listening and musical activity as a physical performance in the devotion to music, in which reflection, experience and action are united. This bodily-aesthetic potential of music can support healing and identity finding in music therapy. Therapeutic work with the medium of music offers sound spaces and resonating spaces that can be experienced by the compulsion of the body and enables one to find one’s own aesthetic meaning patterns.

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Trumpet

The Unnatural Trumpet: The Adoption of Vent Holes in the 1960s and ’70s

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With the founding of the Cappella Coloniensis in 1954 by the Westdeutscher Rundfunk (WDR) in Cologne, historically informed performance style was adopted by the modern orchestral scene. (Nikolaus Harnoncourt’s Concentus Musicus had preceded this group by one year.) The orchestra’s instrumentation was copied from that of the Dresden court orchestra in the late 17th century. Not only were old string instruments found and rebuilt to 17th-century standards; it was also necessary to build models of Baroque and Classical woodwind and brass instruments. Another similar ensemble which I soon joined was the Collegium Aureum. It was founded in 1962, also in Cologne, by the record label Deutsche Harmonia Mundi. In both of these groups, the natural trumpet resisted adoption.

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