Haydn Concerto

limits_unknown · Regular Member Joined: 10 Nov 2001 Posts: 93

Does anyone have any advice on the 2nd movement of the Haydn concerto? I havent played it yet, but I ordered the music, and I'll have to play it for a scholarship audition. Any help would be appreciated.

walter · Posted: Mon May 13, 2002 9:03 pm Post subject:

[ This Message was edited by: walter on 2002-09-20 08:25 ]

kentfoss · Posted: Mon May 13, 2002 10:52 pm Post subject:

There are some really excellent recordings of that concerto, especially played by Maurice Andre and Wynton Marsalis. Good luck on your audition; which schools are you looking at?

Kent

Quadruple C · Heavyweight Member Joined: 28 Nov 2001 Posts: 1448

[ This Message was edited by: Quadruple C on 2003-09-24 22:04 ]

limits_unknown · Regular Member Joined: 10 Nov 2001 Posts: 93

This is for Middle Tennessee State University... pretty nice school, really big marching band, but Im mostly interested in their concert orchestra. I dont have to play this any time soon, but Im supposed to be finding out what solo I'd like to play for scholarships and our school's brass recital. I love this piece, so I'm more than likely going to play this. My most significant problem now seems to be my confidence when it comes to high stuff, I tend to get a little quiet and timid and it cracks the pitches, but Im getting that worked out now. Also, towards the beginning you have those 4 odd runs that seem to come out of nowhere, those are a bit tough too, but shouldnt take too long to work out. Thanks for advice, keep it comin'

vivace · Posted: Tue May 14, 2002 7:51 pm Post subject:

Since this peice is played so much.. i think that you should play it with your own flavor and style. I mean.. if maurice andre played it a certain way.. how many other people will be playing like him. If you do with your interperitation.. the judges will hear your individuality.

hope this helps out
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kentfoss · Posted: Wed May 15, 2002 12:33 am Post subject:

I hope your auditions go well... it was just two years ago that I was doing scholarship auditions. It seems like yesterday. Anyways, I think if you get a chance to hear a recording of that movement, some of those faster note sections will make sense. Something else I've started to notice, listening to people like Maurice Andre play that music, there are really no "high" notes, they're all just notes, and they really shouldn't sound high, they should just sound like different notes. I hope that makes some sense... maybe it will if you hear Maurice play it.

I personally don't like to get too carried away with some of the interpretation on that piece. Being a rather well-known work for the trumpet, a lot of people go overboard on their dynamics and phrasing, feeling like they need to play it completely differerent than anybody else has ever played it. The audition committee might find it very refreshing to hear somebody play it with a good sense for tastefulness. Sometimes concentrating on a more subtle styling of phrasing and playing with a beautiful sound can really go a long ways. I think there's a big difference between and song and an opera, and this work seems more like a song to me. But, just like anything else, this is only my OPINION. If you get bored and want some reading material, Philip Farkas (long time hornist with the Chicago Symphony, and other groups) wrote a great book that touches on phrasing and many other music aspects. It is called "The Art of Musicianship." If you don't already have it, a music teacher of yours might own it and could lend it to you. Anyways, I hope that piece of music treats you well!

Kent

SHS_Trumpet · Posted: Wed May 15, 2002 5:18 am Post subject:

When you play this think of Bel Canto (Beautiful singing) it is like a love song. your the bard now all you have to do is fill the piece with emotion. I do recomend playing on Eb. I also think since it's such an easy song,(technique wise) that all you should do is play beautifully if you do this the rest will be there I recently played the arutunian and all I wanted to concentrate on was making a beautiful sound.
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CBTrpt · Posted: Wed May 15, 2002 6:14 am Post subject:

Remember that this is a classical andante and should have that type of swing. Think more in two than in six. Andante's in that time were more closely related to dance forms. Too often this is played like a cheesy balad. It needs to be beautiful, but not overly sentimental. If your only playing the second mvt. then you should try to do it on the Bb trumpet rather than the Eb, as the Bb can (generally) can get a little deeper more characteristic sound. Enjoy the piece!!! WE're all privelaged to have a piece of this caliber and beauty in our repertoire!

tcutrpt · Posted: Wed May 15, 2002 1:34 pm Post subject:

tcutrpt · Posted: Wed May 15, 2002 1:39 pm Post subject:

I agree with Kent. If you try and put too much of your own thing into it, you will get away from the style. I really believe the way we develop our own style is by copying others and finding what we like about many different players' approaches and styles. If you play the piece with the same interpretation as Maurice or any of the greats, I think you'll be fine in your audition!!!! I wouldn't stray too far from the "standard" way of playing it. It shows that you are mature enough to understand the style and play it correctly. I'm speaking of a large scale image. I don't think there is anything wrong with adding little things you feel are more musical than recordings you've heard. Just avoid changing the entire style of the piece by trying to make it totally your interpretation. Just my thoughts.

Matt

pedaltonekid · Heavyweight Member Joined: 15 Nov 2001 Posts: 1711

In addition to the excellent advice above, don't forget the extra flat/key change for this movement.
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PC · Posted: Thu May 16, 2002 12:41 am Post subject:

Hi,

Already plenty of good advice/thoughts! I think this whole concerto is really a standard in trp literature, and deserves being played in its own right, not only because there are but very few others from the classical period.

Specifically for the 2nd mvt: I like it not too slow, so as not to fall asleep. I like to think of quite long musical phrases with only slight rubato here and there and slight dynamic emphasis on some tension notes (as others have written, no need to overdo anything). Just sing a beautiful, relaxed melody.

As for the choice of trumpets: I played it years ago on my Bb, being the only trumpet I had at the time. Last year, I got to play it on my Schilke Eb-4, which was much more secure (the concerto as a whole). I now tried it again on Bb and it does sound a little better, might be worth the effort, I don't know. As we've heard from John Mohan, it is required in auditions for German orchestras to be able to play it on rotary Bb. I tried practising it on my Mirafone rotary, very nice sound, but what a workout!

Cheers,
Pierre.

tptscream · Posted: Sat May 18, 2002 9:45 pm Post subject:

Just let it FLOW....this movement was written to demonstrate the trumpet's newfound ability as a lyrical instrument, as opposed to one that could only play fanfares within the overtune series...play it like you'd sing it. I like the Maurice Andre version of the Haydn, give it a listen and then grow from there. Make it tell a story.

[ This Message was edited by: tptscream on 2002-05-19 00:47 ]

ChrisPierce · New Member Joined: 09 Oct 2012 Posts: 5

Listen to Wynton. Period.

Vin DiBona · Posted: Tue Oct 09, 2012 9:31 am Post subject:

I would think that after 10 years, the poster has played this piece.

Crazy Finn · Posted: Tue Oct 09, 2012 9:37 am Post subject:

MattC · Heavyweight Member Joined: 11 Dec 2009 Posts: 507

none of his five comments have any substance.

http://www.trumpetherald.com/forum/search.php?search_author=ChrisPierce