Haydn, an Unknown Classic

Preface

Gone are the days when the performer was merely an instrumentalist, a mere executor of scores who never fully grasped, understood, or reached the essence that geniuses of music history radiated in their works. The solo trumpeter, performer, and musician must, like a good conductor, analyze the work as a whole; like a good surgeon, dissect each of its parts and sections; and like a good musicologist, put themselves in the composer’s shoes to understand the social, artistic, and personal factors that influenced its creation.

When the musician’s thirst for knowledge reaches the highest levels of artistic thought, when they become aware of everything around them—musical forms, harmony, aesthetics, music history, humanities history, visual arts, literature, poetry, mathematics, geometry, languages—they understand they are only a piece in the complex machinery of the work of art, serving a higher and more elevated purpose, the masterpiece, to which they surrender and with which they merge. It is at that moment that the performer abandons their stage as a musician to rise to the pinnacle of musical tetractys, the ARTIST.

In the case of Haydn’s concerto, all the aforementioned aspects are evident. To achieve a version as faithful as possible to the original, historically informed in terms of style and manner, and correct considering the original instrument for which it was composed, we must use all available tools to discern our approach and clarify our vision of the concerto.

Fundamental Knowledge Elements

To form a well-founded, historically informed, and aesthetically correct version, we must delve into and study a series of fundamental points. A version based on whim or personal taste, ignoring vital factors, will lead us away from our goal. Our purpose must be clear and transparent. A superficial approach to the facts will be counterproductive. We must consider all study components that will lead us to our goal. Only through analysis, research, comparison, and reflection can we clarify our ideas and lay the foundations for our version.

For Haydn’s Trumpet Concerto in E-flat Major, an “unknown classic,” we face many unresolved questions, mysteries, and ambiguities that must be either solved or unified. The points to address are timbre, dynamics, vibrato, tempi, and articulation.

Timbre

One issue that drives modern trumpeters crazy is dynamics. Multiple editions, publications, and inventive soloists have made this task arduous and difficult. This issue, like that of articulations, has become a real headache for those of us who seek the truth.

Regarding the timbre of the instrument created or developed by Weidinger,¹ the keyed trumpet,² we must highlight the interest it aroused among his contemporaries. To do so, we can turn to the archives and find the criticism made by the Allgemeine Musikalische Zeitung³ between 1802 and 1803:

The fear we initially had […] that this instrument might have lost some of its pompous character has been refuted by Mr. Weidinger’s public demonstrations […] this trumpet retained its full and penetrating sonority, but acquired another sweeter and more delicate timbre, which would be impossible to achieve with a clarinet.

This press comment can serve, to some extent, to validate the role of the new instrument, defending it from others that may justify its short existence, lack of success, or lack of greater impact.

Continuing in this vein, we find the opinion of the great English trumpeter Crispian Steele-Perkins,⁴ given in a personal interview with researcher Brian Moore⁵ in 2005 about the power and volume of the keyed trumpet.

If not blown too hard, it produces a perfect sound […], if you start saturating it with air, it sounds very unpleasant. That’s why people say it wasn’t successful. It didn’t work in the orchestra because it didn’t play loudly.

This topic lends itself much to speculation and subjectivity.

The organisierte Trompete, the model of the keyed trumpet perfected by Weidinger, appeared in 1796. It was not officially presented to the public until 1798 with Koželuch’s Sinfonia Concertante.⁶ A year later, in 1799, it reappeared with Weigl’s Sonata “a sette.” In 1800, it made the great leap by premiering Haydn’s concerto. In other countries, such as England, it was not until 1803. In 1814-15, Stölzel made the first advances in the valve system. Shortly after, he joined Blühmel to work on it, and in 1818 they patented it.

There are few years from the birth of the keyed trumpet to the invention of valves. In that short period, it is very difficult for a new system to thrive. It should be added that, in addition to Weidinger, very few trumpeters have remained in history as soloists or performers of this instrument. Joseph Werner, Anton Khayll, and the Gambati brothers⁷ were virtuosos of the instrument, but there is no evidence they performed Haydn’s concerto.

Another handicap that the keyed trumpet may have faced could have been the reluctance of most trumpeters, raised their whole lives in the old system, to adopt this new one, which represented a very radical change; while the younger ones probably did not have enough time to learn it.

Regardless, it is true that there is a noticeable difference in sound volume, in intensity, in the keyed trumpet between notes produced with all keys closed and those with open keys.

My personal opinion is that Haydn knew this. Whether out of fraternal interest towards his friend, personal taste, or interest, Haydn was greatly involved in this important step for the trumpet.

It is to be expected that the soloist-luthier and composer had conversations about the characteristics of this new instrument, essential to know for a composer. That said, it is also true and I defend and justify it in Haydn and His Magnum Opus for Keyed Trumpet,⁸ that the master perhaps composed a concerto beyond the instrument’s capabilities. Not unplayable, but deviating from its most characteristic features. So much so that it differs greatly from all the music composed for keyed trumpet in the following decades.

Therefore, we are dealing with an instrument that works differently in fanfares than in cantabile parts; fanfares with closed keys are more sonorous and powerful, and the more cantabile and solo parts are more compact and restrained.

Dynamics

Interestingly, Haydn’s humor resurfaces here. He accompanies the soloist with a large orchestra, considering the time. We are talking about strings, doubled woodwinds, trumpets, horns, and timpani. Nevertheless, the composer magnificently orchestrates each part where the soloist intervenes, using accompaniments mostly with piano dynamics, facilitating the soloist’s intervention.

The trumpet part only contains five dynamics throughout the concerto. Four forte indications, which are:

And a single piano dynamic, in the first movement, in the presentation of theme A by the soloist:

Additionally, there is a crescendo indication at the end of the third movement, in measures 289-290.

Regarding dynamics, the first editions took too many liberties, possibly due to the larger and more evolved formations and instruments of the 20th century. For instance, many editions mark the first intervention of the soloist in measure 37 as forte, whereas the transcription of the manuscript made by Paul Handke⁸ marks it as piano. This helps us understand the instrument’s timbre and Haydn’s humor. He reverses the apparent importance of the appearances, presenting the thematic material in piano, creating an auditory and visual impact on the audience.

The auditory and visual impact on the audience of the time must have been tremendous, especially since, in the initial trumpet interventions, they would not have noticed anything different from the pieces previously written for this instrument.

What was Haydn trying to convey with these unusual soloist interventions in measures 8 and 13 to 16? Was it perhaps a farewell to the natural trumpet? Did Haydn intend to play a joke on the listener, making them believe that his concerto was just another among many, where the trumpet was constrained by the harmonic series?:

However, with the listener likely confused after hearing those initial solo interventions that still sounded like a natural trumpet, Haydn suddenly presents theme A with the trumpet, not only in the lower register but also diatonically—something never heard before on this instrument:

It is necessary to highlight the issue of dynamics here, as Haydn introduces the first intervention of this new trumpet in piano, defying all previous norms and customs. Until then, trumpets in the principale register (the middle register, where the sounds were very limited by the harmonic series) always played in forte.

In Haydn’s Concerto, we encounter the same issue with dynamics as with articulations: the lack of a common, unifying criterion. It is truly complex and diverse.

Vibrato

Another important topic in interpreting Haydn’s Concerto is vibrato. Should vibrato be used in Haydn’s Concerto or any other from the classical period? The answer is no.

In the most historically informed interpretation, we must unify all possible criteria, focusing not only on major details like articulations, dynamics, and sounds but also on ornamentation and the use or absence of vibrato. There is no specific mention of vibrato in treatises of the time. Johann Altenburg’s treatise,⁹ although not directly addressing vibrato, suggests that the trumpet should imitate the human voice’s cantabile style:

It is well known that the human voice is used as a model for all instruments, therefore the ‘clarino’ [the trumpeter specializing in the middle-high register of the natural trumpet] should try to imitate it as much as possible and strive to bring forth in their instrument the so-called cantabile style.

Baroque trumpeters did not use vibrato in their technique. It seems that the first wind instrument to use vibrato in performances was the oboe. There is no record of vibrato being used in the trumpet until the mid-19th century with the appearance of the piston cornet. This detail is evident in the recordings made by trumpeters George Eskdale¹⁰ and Harry Mortimer, who were educated in the English cornet school and the deeply rooted tradition of brass bands, characterized by strong and intense vibrato. They both chose E-flat instruments for their recordings. In contrast, Alan Stringer’s version reflects a different approach; he commented on his style, stating, “I fought against the cornet style.”

Regarding the first recording of the 20th century, if we consider it to be Ernest Hall’s in 1932, there is no surviving audio testimony. Therefore, we cannot be certain of his opinion on the use of vibrato in Haydn’s concerto. However, the opinion of master Steele-Perkins, in a 2005 interview, is illuminating. Perkins noted that Hall’s playing style was characteristic of the trumpet school, featuring a completely tenuto and static sound.

From the edition of the Concerto that Ernest Hall published in 1945, we can deduce that he preferred the large trumpet or B-flat trumpet, unlike Eskdale and Mortimer.

Tempi

In many cases [the indications] are not reliable as many composers use them more out of habit than with the intention of characterizing the true movement of the pieces and facilitating the performer’s understanding of their measure. Then it becomes necessary to guess the composer’s intention based on the content of the piece, rather than the word that appears at the beginning, which should indicate the movement.

—J. Quantz (Chapter XII, 2)

With these words, the famous flautist, pedagogue, and methodologist Johann Joachim Quantz¹¹ describes the concept of tempo indications in his time. We can observe the ambiguous nature of these terms, often far from the true intention of the composer.

Therefore, it is essential not to take anything for granted. Many famous versions of this Concerto exist. Regardless of whether some are closer or further from the correct interpretation, or whether they serve as models, the ideal approach is to form our opinion using all the available information.

At this point, it is helpful to cite Quantz again when he refers to the concept of tempo as follows:

The allegro is characterized mainly by feelings of joy and vitality. In contrast, the adagio expresses tenderness and sadness.

Tradition tells us that the first movements of classical period concertos, regardless of the instrument for which they were composed (e.g., Mozart’s horn, clarinet, or bassoon concertos; Haydn’s cello concertos; Hummel’s trumpet concerto), share a similarity in terms of tempo. Typically, the tempo for a first movement allegro falls within the range of quarter note = 120-132.

We must note that this metronomic indication serves to facilitate our understanding. The metronome, a device to precisely define the execution speed of a musical piece, did not exist during the classical period. It was invented in 1816 by the Dutchman Dietrich Nikolaus Winkel.

Second movements are a turning point in classical concertos. Generally, there is a tendency to think they are slow movements in contrast to the first and third movements. Indeed, second movements present a contrasting character, different material, and musical ethos, which does not always imply a slow interpretation. In this particular case, we are talking about an andante, not an adagio or any other slower tempo. As Brian Moore argues in his research Haydn Concerto in the Twentieth Century, an overly slow interpretation of the second movement distorts its nature. What is the basis for this?

To answer this question, we must introduce Sigismund Neukomm,¹² a student of Haydn. Neukomm added metronomic indications to the edition of Haydn’s The Creation piano reduction made in 1832. Neukomm stated:

[Speaking of ‘The Creation’] I have heard it performed so many times under its author’s direction, and on many occasions having conducted it personally in his presence, I am qualified, I hope, to render a valuable service to the music world by setting [metronomic indications] the speed of all the pieces; several of which have often been performed at a tempo never conceived by the composer.

With this in mind, it is interesting to note the relationship between our Andante in 6/8 and No. 8 of The Creation. In the revision of the piano reduction of the oratorio, Neukomm establishes the relationship of eighth note = 120.

Malloch (1988 & 1993) and Temperley (1991) collected some of the metronomic indications that Neukomm, Czerny, and Hummel set for some of the last 6/8 Andantes of Haydn and Mozart’s late symphonies.

Work	Composer	Quarter note	Source
Symphony No. 95	Haydn	104	Czerny
Symphony No. 96	Haydn	116	Czerny
Symphony No. 38	Mozart	126	Czerny / Hummel
Symphony No. 40	Mozart	116	Czerny / Hummel
The Creation, No. 8	Haydn	120	Neukomm
The Creation, No. 21	Haydn	132	Neukomm

The final Allegro, or third movement, and its tempo will vary mainly due to technical issues. Approximately, and as a guideline, we could say that the metronomic speed may range from quarter note = 116 to 144. A faster or slower interpretation can be influenced by taste and concept, but it is also true that technical difficulties in this movement play a significant role. This is especially evident when Haydn’s Concerto is performed with a B-flat trumpet. The sixteenth-note passages, ornaments, and chained trills will significantly impact the final decision on tempo.

Articulation

Articulation is undoubtedly the most ambiguous, complex, and contextual aspect, making it challenging to reach a definitive conclusion. This situation is evident in all three movements, where we observe numerous instances where the same motif or passage is articulated differently. This often leads to confusing situations and real headaches. Only a deep and thorough study of the entire work and the general score will help us find a unifying criterion. At the same time, there will be certain points where it will remain a well-founded, yet personal, opinion.

The reflection that remains after this research is paradoxical. On one hand, historical data such as:

• The last concerto for soloist composed by master Haydn.
• The age at which he composed it, almost 64 years.
• The composer’s unfamiliarity with this new instrument (its potential, possibilities in staccato and legato).

All this can lead to significant freedom on the composer’s part regarding these articulation details for the soloist, as if saying: do what you must, but let it sound like what I made clear in the orchestral introduction.

a) First Movement

It was common practice in classical period concertos, especially in the first movements, to have an orchestral introduction presenting the thematic material that the soloist would later present. This is also the case in Haydn’s Concerto.

The problem with this interpretation is that in the orchestral introduction, the articulations do not match between strings and winds; sometimes, not even among the winds themselves.

Considering the possibility of the composer’s disinterest or negligence would be unfair and detached from reality. In my first research, Anton Weidinger: Coincidence or Causality?,¹³ I make it clear how Haydn devoted himself to the development of the trumpet and how he supported his friend Weidinger by composing this masterpiece.

Why the solo part is so empty of articulations is complicated to know. It might follow the earlier pattern where the orchestral introduction already presents what the composer wants, and the soloist must repeat the same or adapt it. We must not forget that when Haydn composed his concerto, Weidinger’s keyed trumpet was newly made. How could one know what could or could not be done with this instrument?

Another reason could be the trust placed in the performer by the composer. Who better than Weidinger to recreate the master’s idea with his invention?

We must remember that Anton Weidinger was a virtuoso of his time, belonging to the Imperial Court Trumpeters and Theatre, thus rooted in the world of the natural trumpet. He was a trumpeter of the “musical” group, the Court trumpeters, specialists in clarino technique, still strongly rooted in the second half of the 18th century in the German and Austrian trumpet guilds.

The most notable differences are found in the fast figurations, like the sixteenth-note passages of the first and third movements, and in the second movement in general.

Regarding the treatment of sixteenth notes, it is observed in multiple editions that the most common practice is 2-2, that is, two slurred-two tongued. This is the case in the editions of Hall, Bowman, and Voisin, or in the recordings of Eskdale, Mortimer, Wobisch, Stringer, or André.

At this point, we should note that this practice is more typical of the 19th century, possibly the second half. The technical heritage Weidinger received is from the 17th-18th centuries, the inégale. The concept of what was considered aesthetic, correct, or beautiful resided in inequality. Therefore, the most correct approach, in my opinion, would not follow the more romantic line of the piston cornet or Arban,¹⁴ but rather the natural trumpet, where strong and weak syllables alternated (tah-rah; tah-lah; tah-dah; dah-gah… depending on the passages or even the performer’s mother tongue influencing the hardness or softness of the pronounced syllables) to articulate the passages, always seeking to achieve the previously mentioned inégale effect.

This is a legacy of clarino technique used since the 17th century.

Regarding this, Johann Quantz says in his treatise:

The faster notes of the same value in a piece must be played with a certain inequality.

The concept of inequality, the inégale, where beauty lies in difference. This concept, this way of understanding fast figurations, extends at least a century further. Regarding this, we find the opinion of the great cornet soloist and pedagogue J.B.L. Arban, who says in his famous method for cornet:

It would be monotonous to always play staccato without introducing slurs. Its mixture (i.e., the joint use of 2 staccato-2 slurred) gives a pleasant variety and at the same time facilitates the acceleration of the movement.

Arban, 1907, 154

Let’s go back in time to mention an important reference made by Altenburg. In 1795, he said:

The tongue strike (tonguing) is so designated because it cannot be interpreted without a clear and precise tongue strike, through the pronunciation of certain short syllables inside the mouthpiece. This tongue strike is of different types, both for single and double tonguing we do not pronounce the syllables in a single way.

Altenburg, 1974, 91

Herr Weidinger is closer in time, philosophy, and technique of the instrument to this concept than to Arban and the cornet, a later and more developed instrument.

This argument somewhat undermines Bullock’s idea, in which, in his edition of the concerto, he writes slurs for the trumpet. Tarr & Landon (1982, Preface), referring to Bullock, say:

He derives the slurs he writes for the keyed trumpet too much from the bows of the violin parts and does not take into account the nature of the keyed trumpet.

Tarr & Landon, 1982

Likewise, supporting the idea contrary to Bullock’s, Tarr & Landon (1982, Preface) argue that in many passages the performer might have used a type of soft articulation. In the same way that a trombonist does in slurred passages to give the precision and clarity necessary to achieve the expected point. All the above helps us understand the differences found between the orchestral score and the soloist but does not clarify the differences between the various voices of the orchestra.

These are just some of the examples we can find in the first movement.

Did Haydn make a mistake? Is it due to his age? Is that what he intended?

To the first two questions, I have no answer. To the third, I think not for three reasons:

• It was not characteristic of classicism to break a unifying criterion.
• It does not truly achieve any striking or interesting effect.
• The sense of humor of the Austrian master does not reach such high levels.

Without a doubt, an enigma yet to be resolved.

b) Second Movement

The second movement is an andante, also in sonata form, in the neighboring key of A-flat major (characteristic of Classicism, when the first movement is in a major mode, the second is in the subdominant key of the first movement’s key), with a romantic tone. Haydn employs modulations now possible with the new trumpet (e.g., to C-flat major, previously impossible for a trumpet) and chromaticism, with semitone descents during its short development (E-flat, D, D-flat, C). Here the soloist allows themselves to “sing” like never before with a trumpet in the warm low sounds.

The second movement creates the most uncertainty regarding tempo and character. Although the most widespread idea or version is that of a cantabile and legato style, it has not always been so. For example, we find the interpretations by George Eskdale in 1938 and 1952, Steele-Perkins in 2001, and Markus Würsch in 2012. These versions lack slurs in the thirty-second notes. Although this might seem outlandish to modern trumpeters, Haydn’s original manuscript does not include these slurs in the solo part.

As in the first movement, the inconsistency in articulations is evident. The slurs in the theme’s syncopations appear in multiple ways, whether in the solo voice, strings, or woodwinds:

Within the orchestral voices, we see continuous differences, especially between the flutes and the first violins when they play the same thing an octave apart. At times, the oboes’ voice joins this “lacework.” In measure 15, the second part of the measure, the motif appears articulated. It never appeared nor will it appear in legato throughout the movement. Is it so different from the motif with which theme A begins? In measure 23, the same melodic-rhythmic motif is transposed a minor third up but written in legato.

Another inconsistency arises in measure 36. The sixteenth notes (both in the soloist’s voice and in the flute, doubling at the octave) appear articulated, even though this same motif has previously appeared in different voices in legato and should therefore be slurred:

In measures 41 and 42, we again find different articulations between violins and woodwinds:

The significance this melody must have held for Master Haydn cannot be overstated. It is important to remember that a year later, in 1797, the principal theme from this second movement inspired the second movement of the Emperor Quartet, Op. 76, No. 3. This piece eventually became synonymous with the anthems God Save the King in Britain and Gott erhalte Franz den Kaiser (God Save Francis the Emperor) — a homage to Francis II, Emperor of the Holy Roman Empire and later of Austria.

c) Third movement

The Concerto concludes with a finale-allegro in rondo form. This movement is characterized by its virtuosic nature and overflowing energy. However, articulation becomes the biggest challenge throughout it. For instance:

Presentation of theme A: The first violins introduce it at the beginning of the movement with continuous slurs, whether in the first and second measures, slurring the quarter notes in pairs, or the groups of sixteenth notes in groups of four. However, from measure 13, when the theme is taken up by the woodwinds (bassoons and flutes) along with the first violins, they all do so in an articulated manner. The slurs disappear. The first time the dynamic was piano, and the second time it was forte. Could this detail have something to do with the change in articulation?:

The canon-like interplay between the soloist and the violins is a clear example of how differently the same motif can be articulated:

In measure 200, we can observe how the same melodic-rhythmic motif from the previous example now appears different between the soloist and first violins’ voices. This time it is not in canon form but in unison, and even so, the articulations do not match:

Haydn keeps us on edge until the very last moment, capturing our attention and keeping our senses awake. After all the fuss, let’s briefly review what happened in this concerto:

1. Haydn starts the Concerto jokingly with an audience expecting something new.
2. He keeps them in continuous intrigue.
3. He presents new registers, colors, and timbres, combining them with what was considered characteristic of the trumpet until then.
4. He presents a trumpet in which the low and high registers, principal and clarino, form a unity.
5. Without a word, he introduces us to the ambiguity of a lyrical second movement, with romantic overtones, where the beauty of simplicity prevails and replaces any unnecessary virtuosity.
6. For this, he uses the Allegro-Finale where he plays with brilliant, agile passages; modulations; mixes martial-style interventions with movements in the clarino register.
7. In a few minutes, he exposes all the possibilities of the new instrument, both technical (sixteenth-note passages in the high register, chained trills, difficult fingerings and executions, the demand for a wide register of the instrument by the soloist) and musical (timbral richness, chromaticism, trumpet-timpani passages).
8. After all that, he masterfully surprises us at the end of the third movement. Until the last note of this concerto, the Austrian master maintains the level of originality and interest.
9. After a General Pause or Great Pause in measure 283, creating anticipation in the audience, he prepares them for what is to come. The soloist will once again present the main melody of this movement, which initially does not imply anything new, until he interrupts the melodic line and faces the finale of the concerto from the low register, the principal register in trumpet-timpani style, reinforcing the harmonic and rhythmic verticality of this finale.
10. As if nothing had happened, he returns to the ancient airs of the trumpet, ending the concerto as if saying, “and all you have seen is a product of your imagination, a mirage, a dream, ha ha ha.”

Without a doubt, a masterful way to conclude a concerto unparalleled in trumpet history.

The Mason’s Mark

This article will not delve into Haydn’s membership in Freemasonry. For those interested, I refer you to my research titled: Anton Weidinger: Coincidence or Causality? Here, I will focus on a picturesque topic that was not addressed in previous investigations. This practice was not unique to his trumpet concerto but was fairly widespread in his compositions.

Typically, Haydn began the manuscript of each composition with the phrase “in nomine Domini” (“in the name of the Lord”) and ended it with “Laus Deo” (“Praise be to God”). Haydn, a devout Catholic, often turned to his rosary for inspiration or any aspect related to his artistic production. He found this practice both effective and comforting.

Alongside his religious devotion, this custom also reflects a clearly Masonic procedure. Every Freemason, before beginning any work, fulfills the obligation to direct their thoughts to the Great Symbol to receive its powerful assistance, using the expression “In The Name Of The Grand Architect Of The Universe” (I.·. T.·. N.·. O.·. T.·. G.·. A.·. O.·. T.·. U.·.), which is synonymous with “in the name of the Lord.” The formula used once the composition is finished, “Laus Deo,” expresses the gratitude of a humble Mason to the Supreme Being, who has granted him the willpower and necessary intelligence to undertake a new project.

In the composition at hand, we can clearly observe in the original manuscript, at the end of the third movement, the Latin formula “Laus Deo”¹⁵ along with the master’s signature.

Even once the composition is finished, Haydn continues to add humorous touches. In this case, he uses encrypted messages in the purest Masonic tradition. In his signature, the Austrian master introduces a symbol (.:.), the three dots, the apex of the pyramid, known as the Pythagorean tetractys. This is a clear symbol used by members of the Masonic Order to indicate their membership. The three dots suggest that a word is incomplete, and it is assumed that the recipients of the message know the rest. In this case, he abbreviates his second name Joseph to Jos followed by the three dots and his surname.

Organisierte Trompete

The name Herr Weidinger chose for his creation is intriguing and fascinating. What most trumpeters do not know is that he did not designate his instrument as the keyed trumpet (Klappentrompete) but as the organisierte Trompete (organized trumpet). Over time, the term “keyed trumpet” became more prevalent, likely due to the system used to produce chromaticism, similar to a clarinet or a bassoon.

What lies behind this name? Does the depth of the term match its contribution to the trumpet world?

The organized trumpet symbolizes the birth of something new, representing the evolution of the trumpet from ancient airs to a new state—a higher stage—of chromatic instruments. No longer confined by the limitations imposed by physical-harmonic conditions, the trumpet emerged from the temporary decline it had experienced since the mid-18th century. As is often the case in history, a great era of splendor is followed by one of decadence.

Following the golden age of the trumpet in the 17th and 18th centuries (until approximately the 1720s-1730s), a period emerged where the instrument struggled to adapt to new times, tastes, and demands, relegating it to a secondary role of mere rhythmic-harmonic accompaniment in orchestral pieces.

But a new instrument was born, one in which tones and semitones are organized, distributed, and located in a metal tube through a system of keys that open and close a series of holes.

Different combinations can be used for the same sound. The choice of one combination over another depends on tuning issues, sound quality, or ease in a passage with specific fingering. Depending on the trumpet’s key, some notes’ fingerings may not correspond. Therefore, it is advisable to seek the combination that provides the greatest richness and sonority.

For Herr Weidinger, this organization represented order in the broadest and most valuable sense. Order as a solution to a previous state. Just as in the creation of the universe, that previous state—chaos—should not be understood in its most simplistic sense as something negative, dark, formless, or sterile, but as the germ that gives rise to life and a new state. Chaos is understood as the absence of order.

In chaos, all elements already exist in a disorganized state. Similarly, the decades of study, research, experiments, and inventions during the transitional years—marked by a seeming evolutionary standstill of our instrument—were crucial for the development of the keyed trumpet. Those decades represented the necessary chaos from which Herr Weidinger ultimately introduced the keyed trumpet, his organisierte Trompete (organized trumpet).

Conclusion

Performing Haydn’s Trumpet Concerto in E-flat Major with a keyed trumpet has been a journey of profound discovery and scholarly inquiry. Exploring the historical context, technical nuances, and performance practices has highlighted the complexity and richness of Haydn’s work. By delving into aspects such as timbre, dynamics, vibrato, tempi, and articulation, this study has aimed to provide a more historically informed and stylistically coherent interpretation of the concerto.

Haydn’s humor, ingenuity, and musicality permeate the Concerto, making it a unique and enduring piece in the trumpet repertoire. The insights gained from this investigation enhance the understanding and appreciation of Haydn’s concerto and contribute to the broader field of musicology and performance practice. The successful realization of this project testifies to the enduring relevance and vitality of Haydn’s music and the continuous need for rigorous study and thoughtful interpretation in classical music performance.

Footnotes

1. There were earlier prototypes. The first in 1760; 1766 by Ferdinand Keilbel (Saint Petersburg); 1760-70 by Schwanitz (Weimar); 1780-85 by Kellner (Holland) or 1793 by Nessman (Hamburg). ↩︎
2. Organisierte Trompete is the name with which Weidinger christened his creation. More detailed information in the last section of this article. ↩︎
3. Musical newspaper founded in 1798 based in Leipzig. It was one of the first dedicated to music. It contained musical reviews and articles covering a wide range of interests such as history, musicians, composers, instruments, etc. ↩︎
4. English trumpeter considered an authority on historical trumpets and a renowned virtuoso. ↩︎
5. Brian Robert Moore, Brass Professor at Exeter School (England). Author of the essay Haydn’s Trumpet Concerto in the Twentieth Century (2005). ↩︎
6. In The Weidinger Plan, the second article of my trilogy on Weidinger, I thoroughly discuss Koželuch’s Sinfonia Concertante. ↩︎
7. The Romantic Trumpet (Part I) by Edward H. Tarr. Study written for the Historic Brass Society Journal. ↩︎
8. Paper presented on 01/12/2024 at the Conservatorio Superior de Música de Málaga on the occasion of the Spanish premiere with keyed trumpet of F.J. Haydn’s Trumpet Concerto in E-flat Major alongside the Iberian Sinfonietta orchestra. ↩︎
9. Austrian trumpeter (Vienna). In 1899, he transcribed the solo part of the concerto from Haydn’s manuscript. He became the first trumpet of the Chicago Symphony. In 1907, he was the solo trumpet in the American premiere of Mahler’s Fifth Symphony. ↩︎
10. German composer, organist, and trumpeter (1734-1801). Author of the important treatise Versuch einer Anleitung zur heroisch-musikalischen Trompeter- und Paukerkunst (Essay on the Introduction to the Heroic and Musical Art of Trumpeters and Timpanists) (1795). ↩︎
11. The first existing recording of Haydn’s concerto is his. It took place in 1938, by Columbia Records, on a 78 rpm, 30 cm record. The material for this recording was taken from the live broadcast held on the night of Thursday, June 23, 1938. The broadcast was carried out by the BBC. The orchestra was Columbia Symphony Orchestra under the baton of Walter Goehr. Only the second and third movements appear on the record due to the capacity limitations of the vinyls of that time. It would take until the second recording that the same Eskdale made in 1953 to find the complete concerto with all three movements. ↩︎
12. Johann Joachim Quantz, German composer and flautist, as well as flute teacher of King Frederick II of Prussia. His treatise Versuch einer Anweisung die Flöte traversiere zu spielen (Essay on a Method for Playing the Transverse Flute) is a reference manual for anyone interested in Baroque music. It is not only useful for flautists but also applicable to singing and other instruments. It is fundamental to know the musical thought, interpretation, and style of the first half of the 18th century. ↩︎
13. He composed the Requiem in Memory of Louis XVI where he introduced a series of Preludes and Interludes for keyed trumpet, four horns, and three trombones. The mass was premiered in 1815 on the occasion of the Vienna Congress celebration. ↩︎
14. First article or essay of the trilogy on Weidinger. Published in 2012 with ISSN: 2254-8521. ↩︎
15. As an example, this great French pedagogue and soloist is mentioned, but due to his undeniable impact, not because that way of interpreting sixteenth notes is unique to him. ↩︎
16. Praise be to God. The full phrase: “Laus Deo et Beatae Virginis Mariae” (“Praise be to God and Blessed Virgin Mary”) ↩︎

Bibliography

Altenburg, J.C. (1795). Versuch einer Anleitung zur heroisch-musikalischen Trompeter- und Paukerkunst.

Audios from Graham Rankin’s YouTube channel on George Eskdale’s first version (1938). Only second and third movements. Recording data: Columbia DX 933 / CAX 8537-1/8-1 / 78 rpm / 30 cm.

Bullock, D. (1979). Articulations for the Haydn Trumpet Concerto. International Trumpet Guild Journal, pp. 26-28.

Dahlqvist, R. (1795). The Keyed Trumpet and Its Greatest Virtuoso, Anton Weidinger. Editions BIM.

Gómez Hurtado, A. (2012). Anton Weidinger, Coincidence or Causality?

Gómez Hurtado, A. (2013). The Weidinger Plan.

Masonic Studies Circle “Codex Verginus” of Jaén, Spain.

Moore, B. R. (2005). Haydn’s Trumpet Concerto in the Twentieth Century. OU A871. Project presented as a component of the final exam, September 2005. Tutor: Ian Cooper.

Mozart, L. (1951). A Treatise on the Fundamental Principles of Violin Playing. (E. Knocker, trans.).

Quantz, J.J. (1752). Versuch einer Anweisung die Flöte traversiere zu spielen.

Redlich, H.F. (ca. 1935). Orchestral Score. Publisher: Leipzig. Eulenberg. Plate E.E. 6022.

Roy, E.C. (1980). Method for Keyed Trumpet. Mainz: Schott.

Steele-Perkins, C. The Trumpet. Yehudi Menuhin Music Guides.

Tarr, E.H. (1993). The Romantic Trumpet (Part I). Historic Brass Society Journal, Vol. 5, pp. 213-261.

YouTube Channel, George Eskdale’s 1953 recording. Includes the complete three movements.