Haydn trumpet concerto in auditions

javialcaraz · Regular Member Joined: 12 Dec 2014 Posts: 29

Hey guys! I will love to start a discussion about wich horn do you think is best for play the haydn concerto on auditions. The most usual are the Eb tpt, Bb piston and Bb rotary.

If you could choose in an audition (they dont say what horn specifically you have to use), which one will you choose and why?

In europe they usually ask this concerto 1st and sometimez 2nd movement on most of the first rounds.

My favourite one are Eb and Bb rotary. I think the rotary gives the best color for the concerto and also a biiger and darker sound than Eb.

I will love hear lots of opinions about this topic

trumpet56 · Heavyweight Member Joined: 16 Jun 2010 Posts: 623

sweet-ribs chamberlain · Posted: Tue May 03, 2016 5:52 am Post subject:

Most American players prefer to play Haydn on E-flat in an audition situation. Many German orchestras (and others outside of the states) require it on rotary b-flat. If you asked the last 10 people that won orchestra gigs in America that had to play the Haydn in their audition, I would bet they all played it on an E-flat trumpet. Sometimes Hummel is done on C trumpet in auditions, for what it's worth. Bottom line is to go with what sounds best and gives you reliable results.

Sweet-ribs

TrumpetDan79 · Veteran Member Joined: 27 Jan 2015 Posts: 157

I would recommend learning the Haydn Concerto on both Eb and Bb, the Hummel Trumpet Concerto on Eb AND in mi on C trumpet. It opens up European competition and audition opportunities. The term "audition" needs to be more specific. U.S. orchestral auditions? Use whatever works. For competitions and European auditions? Use whatever they tell you to use. I agree with the others. Nobody cares what you use if you have the option, just do it well.

D
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Daniel J. Flores
Trumpet Artist
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Nonsense Eliminator · Posted: Tue May 03, 2016 7:24 am Post subject:

Unless you are told to play it on a particular instrument, play it on the one that sounds best -- keeping in mind that "sounds best" includes "right notes" and "doesn't sound like you're working harder than the last guy, who played it on E flat trumpet," as well as, "is reliable in the context of an audition." If you can play it on B flat trumpet with zero compromises in accuracy and facility, knock yourself out. Otherwise, there are no points for heroism, and the flute player won't know the reason you biffed a note is that you played it on a bazooka.
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Richard Sandals
NBO

MrClean · Posted: Tue May 03, 2016 8:04 am Post subject:

^^^^^^^^^^^^^^^^^^
This.

While sound is very important, with the right equipment it is possible to make a very good sound on a piston Eb. The sound advantage you think you have on that rotary Bb may quickly evaporate if it appears you are struggling with technique. Some of those trills are nasty on C or Bb! The viola player on your committee may not appreciate the subtle difference in timbre, but they will not forget the struggle or the clams. You don't get added points for degree of difficulty. Quite the opposite with me - I interpret that as dogma that clouds judgment, and I don't want to sit next to that every day.
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Jim Wilt
LA Philharmonic
Colburn School

Nonsense Eliminator · Posted: Tue May 03, 2016 8:32 am Post subject:

One other thought: you have plenty of chances at an audition to demonstrate a great big orchestral sound. You have fewer opportunities to sink your teeth into an extended piece of music and really tell your story. That's mostly why the concerto is on the audition anyway -- to see what kind of musician you are. A big part of the advantage of the E flat trumpet is that if you're a fundamentally sound player, suddenly the Haydn isn't really all that hard any more. So instead of worrying about all those high Cs, you can concentrate on making it about music, and maybe even take some chances and do something really special. I don't think Maurice André played it on E flat trumpet because he had to.
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Richard Sandals
NBO

MrClean · Posted: Tue May 03, 2016 8:39 am Post subject:

To support Richard's last point, I offer the principal of the Berlin Philharmonic (rotary trumpet headquarters) rendering the Haydn on....

http://youtu.be/5NPBQUXB2Ac
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Jim Wilt
LA Philharmonic
Colburn School

trumpetchad · Posted: Tue May 03, 2016 8:58 am Post subject:

I agree with what's already been said, and I'll add this:

I always say that when it comes to the solo piece on an audition: you can't win an audition with the solo piece, but you can certainly lose it.

davidkoch · Posted: Tue May 03, 2016 9:35 am Post subject:

javialcaraz · Regular Member Joined: 12 Dec 2014 Posts: 29

Thanks for the answers! I guess Eb trumpet is the favourite choice! One more question. What mpc should people use for the Eb? I usually play my schilke Eb with a 1/1-2c rim with 1c cup 26/24. Thanks in advance!

snichols · Posted: Tue May 03, 2016 10:20 am Post subject:

TrumpetDan79 · Veteran Member Joined: 27 Jan 2015 Posts: 157

Mouthpiece SHOULD people use? Whatever works. Modern construction doesn't require special mouthpiece choices on most high horns sans the piccolo trumpet. It also depends very much on the piece/work you're playing. I perform the Davies Sonata on D trumpet with a Toshi HH. It's like a 2.5C. On the Bartok Concerto for Orchestra, Eb with whatever works best for your section There are no rules for this.
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Daniel J. Flores
Trumpet Artist
www.dflorestrumpet.com

x9ret · Posted: Wed May 04, 2016 2:18 am Post subject:

I did the Haydn for the National Youth Brass Band of Wales auditions many years ago.

Why not learn to play Haydn and Hummel well with both instruments? It's great practice. I think it's good to regularly practice these as it gives a good checkpoint on your playing.
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Jberg · Regular Member Joined: 22 Nov 2004 Posts: 24