![]() ![]() What both composers concentrated on was to write music that accentuated the new instruments special abilities. Remember that prior to this, the trumpet was relegated to marches and fanfares. Never before and rarely since has the trumpet been so eloquent and (gasp!) beautiful. Both composers quickly realised the advantages of the new instrument and took the task seriously.Īs it happens, the two first concertos written for the new trumpet have become the greatest ever written in the genre. He commissioned trumpet concertos from Joseph Haydn in 1796 and from Johann Nepomuk Hummel in 1803. Weidinger set out to popularize his invention. With this new trumpet, for the first time, the player had literally at his fingertips the entire chromatic scale, no longer limited to one key and with the ability to play every half-note within its range. His idea parallelled the woodwinds in that he drilled holes along the top tube of the trumpet, each of which could be opened or closed by valves. In the 1790's, a trumpeter in the Vienna Court Orchestra by the name of Anton Weidinger, frustrated at the limitations of his instrument, invented a new trumpet. It had no valves or fingerholes, so the notes it could produce were limited to just its base pitch and the harmonic series of that base note. ![]() The trumpet, in the late 1700's, was a very limited instrument. There is no better proof of this than the Haydn and Hummel trumpet concertos. On the other hand, there are those that claim that had the composers had access to modern instruments with all their advantages, they certainly would have composed for them. The Brandenburgs were never meant to be played by a modern 72 piece orchestra. And there is certainly a gutsy vitality of music played in this style. ![]() These are the people that insists that unless Bach is played on instruments of Bach's time (either original or faithful copies), we are not getting the true Bach experience. ![]()
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