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Robert P
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 Posted: Tue Apr 11, 2017 8:52 am Post subject: Back story to the Michael Haydn concerto in D? |
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Yeah the one with the high note. Sounds great but even contemporary players with modern equipment find it tough. Is there anything written about how he decided to put that line in?
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Danbassin
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Joined: 13 Oct 2013
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| Posted: Tue Apr 11, 2017 9:48 am Post subject: Re: Back story to the Michael Haydn concerto in D? |
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| Robert P wrote: | | Yeah the one with the high note. Sounds great but even contemporary players with modern equipment find it tough. Is there anything written about how he decided to put that line in? |
Short answer - yes.
The Salzburg school of either composing, trumpet-playing, or both kept the clarino tradition of the baroque era going well into the classical period. Consider the Leopold Mozart concerto, which, while not as extreme as the M. Haydn D major 'concerto', still makes significant demands on the soloist. Look no further than the trumpet parts of Leopold's son, and you see that there was a quick and marked change in trumpet writing in only a generation's time.
A letter from Leopold exists claiming that his son wrote a trumpet concerto, but, alas no score has survived - if Mozart did, in fact, write the work. It was to have shared the bill with his "Orphanage Mass" in C-minor, written when the younger Mozart was just twelve years of age. Interestingly, that mass calls for additional ripieno trumpets (and/or trombones), so there was something brassy going on, then.
Leopold did warn his son against spending too much time with Michael Haydn, whose drinking problems were known in Salzburg...though this probably has little to do with either composer's trumpet writing!
If you compare the concerti of Michael Haydn with those of his older brother, you see a direct example of the heights of baroque-era clarino writing extending into the classical era, contrasted with the new, middle-register possibilities of a properly classical concerto for (a unique version of) our instrument. Above, I did put the word "concerto" in quotes when referring to the Michael Haydn D-Major, as this work comes down from an orchestral suite. The C-Major concerto, other suites, and several other works by this composer that employ the trumpet display a similarly EXTREME approach to clarino writing.
And, he was not alone --- we live in the future, go googling to your heart's content, and look up some info on this unique era in trumpet writing. Not everything exists in public domain sources, but a surprising amount does.
Let us know what you found.
Best, and happy practicing - upper, and middle-register.
-DB
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Robert P
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| Posted: Tue Apr 11, 2017 5:58 pm Post subject: |
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Too bad we'll never hear what those original players sounded like. I wonder what percentage of those who took up the instrument got to where they could play well in that extreme range.
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dstdenis
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| Posted: Tue Apr 11, 2017 6:27 pm Post subject: Re: Back story to the Michael Haydn concerto in D? |
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| Robert P wrote: | | Yeah the one with the high note. Sounds great but even contemporary players with modern equipment find it tough. Is there anything written about how he decided to put that line in? |
There's some background info in Edward Tarr's book, The Trumpet.
| Tarr wrote: | Clarino playing reached its high point between 1740 and 1770, especially in Germany and Austria...
The highest notes, however, are found in the music of Austrian composers... The "world record height," a concert a' ' ' or twenty-fourth partial on the D trumpet, was established in the first movement of Michael Haydn's first trumpet concerto in D major... |
Tarr then goes on to name the trumpeters who played at court in Austria, including J. B. Resenberger, who was famous for his mastery of the extreme high register. Putting this together, it seems that Haydn wrote these high notes because he had Resenberger, who could play them.
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