There are places, primarily in the second movement, where Weidinger is believed to have changed the music because of the execution of the instrument. It is unknown whether this was in agreement with Hummel. Originally this piece was written in E major. The work is composed in three movements typical of a concerto and they are marked as follows:. The work is scored for trumpet solo, flute , 2 oboes , 2 clarinets , 2 horns , timpani and strings.

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Individual 3-year HBS membership for membership years Journals are typically mailed out either at the end of the membership year or at the beginning of the following year. It is safe to say, without any exaggeration, that if you are even remotely interested in the history and development of the trumpet that you must absolutely spend some time with this wonderfully-produced full-color facsimile and page commentary. In fact, this publication demonstrates just how inaccurate the common wisdom about the work was before Edward H.

Tarr gave the manuscript a fresh and thorough analysis. I am greatly impressed with the quality of the facsimile itself. Of all the facsimiles I own, this is the one that makes me feel most like I am holding a piece of music history in my hands. The three layers of handwriting original now-brownish ink, and later additions in red pencil and black ink necessitated the full-color reproduction and also demonstrate the distinction with which the Editions BIM printers went about their work.

Even more impressive is the inclusion of the original fold-out pieces of paper used for corrections — the publisher has taped them in exactly where they are in the original. I have to admit that at times these fold-outs made me feel like a baby holding a pop-up book, so eager was I to see what was underneath. I have only one real criticism for the facsimile portion: for some reason the publisher inserted small red measure numbers on the top corner of each page within the margins of the facsimile.

There are other insights into the false assumptions made by modern editions of the work as well. He posits that the marking indicates a heavy vibrato instead. Undoubtedly Editions BIM will print a modern urtext version in the near future, which should rectify this problem once and for all.

He and others notably John Rice in an article in Music and Letters have argued for a significant number of borrowed thematic ideas within the work from Cherubini and Mozart, as Hummel worked to increase the accessibility and popularity of his concerto. To me the presumed references to Mozart seem more like topical similarities further see the writings of Leonard Ratner. If Hummel really is quoting throughout, it would fundamentally change the way in which we think about this composition.

Perhaps Tarr is correct and these quotations are there and were intentional, but I remain skeptical. The remainder of the commentary includes biographical details, an examination of the different handwritings seen in the facsimile, and a discussion of the performance history of the work. In spite of these few and admittedly nitpicking problems, overall the facsimile edition is a must-own for the aspiring trumpet historian and will provide even the average trumpet player with a great deal of food for thought.

Those that teach trumpet at the college level will find this to be a useful and engaging resource for instruction — especially as students prepare the work for performance in recital. In summation, it is a shame that we had to wait some years for this publication, but now that we have it we should all have a copy on our bookshelf.

Peter was a rare musician who possessed a reserved personality, sharp wit, inquisitive mind, and was one of the most inventive and brilliant cornet players in the early jazz world. He was eager to explore a wide range of musical genres from natural trumpet, English slide trumpet, 19 th century cornet repertoire to the world of early jazz, where he was a true star.

Edward H. Tarr — , the pre-eminent baroque trumpeter of the twentieth century, has died at 83 following a period of illness. His recordings and concerts stimulated considerable interest in the natural trumpet, an interest that he furthered with numerous editions of trumpet works, a rich body of pedagogical and musicological publication, and close work with the instrument makers Ewald Meinl and Rainer Egger in the reconstruction of instruments inspired by Wolf Wilhelm Haas, Hans Hainlein, and Johann Leonhard Ehe III.

But crowning all of this was his beauty of sound and a highly cultivated sense of style that would entice and inspire generations of players and listeners throughout the world. In light of the coronavirus pandemic, with the difficulty of travel and the importance of social distancing, we have cancelled our April 17 Symposium.

We are already working to reschedule, with a very possible date in late May of in the greater New York area. Please be patient as we coordinate with other organizations to bring this together. We will put out a new Call for Presentations as soon as we have a date and location confirmed, and will continue to update both the website and the Facebook page with additional details.

Meanwhile, we hope everyone stays healthy and safe, and we look forward to seeing you all in the future. The works will be followed by a concert open to a wider public Feb. The paintings are quite possibly the earliest european iconographical source for the employment of circular horns in hunting. In this phase the application only refers to the french hunting horn, trompe de chasse , but the common origin of the instrument and practice at 17th century europen courts hunting ceremonial, and the parallel impact in diffferent musical contexts, as art music, might involve, hopefully, a further more inclusive application.

Individual 3-Year Membership. Institutional Bostin Instrument Manufacturing, Latest News and Events. Vienna Talk Postponed. Vienna Talk , at which the HBS was scheduled to present a special lecture session, has been postponed due to coronavirus.

Originally planned for September , organizers are tentatively planning on moving it to September Peter Ecklund — Tarr News Member News. April Symposium Cancelled. News Other Events Events Conferences. Login Logout Register.


Mozartean Gesture and Rhetoric in Hummel's Concerto for Trumpet

Skip to search form Skip to main content You are currently offline. Some features of the site may not work correctly. Hummel's Concerto for Trumpet Concerto a Tromba principale is overtly operatic and is stylistically reminiscent of Mozart's Don Giovanni. Using the methodology of Leonard Ratner and Wye J. Allanbrook, it is possible to explore gesture and rhetoric in Hummel's Concerto for Trumpet and Mozart's Don Giovanni, and achieve a deeper understanding of the stylistic similarities shared between the two works. In the third movement, dance is the most significant link to Don Giovanni.


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