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History of the trumpet in classical music
After Bach and Handel, trumpet player fell. Haydn, the great successor of these two gentlemen did not do well with trumpets. When Haydn entered the service of Prince Esterhazy, music-loving Prince of Austria, his first orchestral trumpets do not include at all.
As late as 1766, the regular personnel of this orchestra, comprised one of the leaders in Europe, six violins and violas, a cello, a string bass, a flute, two oboes, two bassoons, four horns, but no trumpets or cornets. Several years later resources orchestra was expanded so that the trumpets and tympani can be added as needed.
Even when Haydn spent Trumpets, he scored for them, so they played an octave or one sixth of horns. To this thin arrangement, he added drums for accompaniment. He probably felt the need to fill with something, and the drums seemed the most appropriate.
Mozart, as in Haydn's first pupil, but whose genius lifted him to a place of his master; seemed to share Haydn's dislike of trumpets. This antipathy of trumpets was due to an extremely sensitive nature. So Mozart was ten years old, the sound of the trumpet was creepy painful for him and he could not endure it.
As an adult he found little joy in the trumpets, and he used them sparingly. In 1788 he wrote his three greatest symphonies, but only two of them did he use the trumpet. He could not endure the high Clarion written parts of Bach and Handel He even rearranged some of this music that gives the high Clarion parts for clarinets.
Beethoven generally wrote for two trumpets and often used them as solo instruments. This can hardly be interpreted to mean that Beethoven was particularly pleased trumpet for it was a known custom of his to score as much as possible for all players in the orchestra and to pass around the solo parts to keep them all interested.
Generally he followed the custom Mozart and Haydn in the handling of trumpets, write them parts was an octave, a sixth or sometimes third of the horn, all to the accompaniment of pounding by tympani.
Although it was probably just as well that the trend was away from the high Clarion writing Bach and Handel, the composers who did not invent anything to write the trumpet, which was so interesting. Bach and Handel and their predecessors did trumpet one of the most interesting instruments in the orchestra.
They certainly went extreme lengths and exhausted the possibilities along this line, but they have to be given credit for ingenuity and inventiveness. When composers after Bach and Handel abandoned this style of writing, they failed to bring up something to take its place.
They used it as much Trumpets Bugles are used today in drum corps. The trumpet parts were thin chords whose poverty design was covered up in the noise of tympani. They seem not to like about the long trumpets, as it was possible to play chromatically in the upper registers.
This kind of game was a man kills the trumpeters, but it had the options some feel were not fully utilized. These old masters knew to add villains to the simple trumpet, in order to achieve, by jumping from one trumpet to another, something approximating chromatic playing. Wagner's success with this type of instrument shows good enough to Mozart, Haydn and Beethoven overlooked opportunities in the trumpet of their time.
Instead of taking advantage of the long trumpet with diatonic and chromatic upper registers, and instead to use the trumpet with crooks who made Wagner, they contented themselves with writing thin tonic and dominant chords for these instruments.
Possibly, it is expecting too much, even from such geniuses as Haydn to Mozart and Beethoven, look for trumpet writing to the thin chord based on the tonic and dominant. After all, even Wagner did great things at the simple trumpet without valves, he had set him the example of piston engines trumpet performance.
He chose the simple trumpet, because he preferred the tone to that of the valve trumpet, but the example of the valve trumpet must have suggested the superior trumpet writing for simple trumpet. To appreciate what Haydn was Mozart and Beethoven up against, we need only examine what kind of music is written for regular military bugle today.
Bugle calls are limited to five or six notes. Other notes are possible, but these five or six are the best in quality and the easiest to blow.
The obstacles in making music with these notes is evident. They have wide differences between them and their range limit music to a monotone span. In the upper part of the scale the notes are closer together and have greater musical possibilities, but these notes are hard to play and can be blown just a few powerful individuals.
Even with the precision instruments built today, many players do not hit the ninth and tenth partial, and at the raw Bugles two hundred years or more since it is doubtful that many players could go beyond the sixth. It is little wonder that early composers did not think seriously about the musical possibilities of such instruments.
About the Author
Malcolm Blake has spent years of his life devoted to studying music online and off. He is currently working on projects on learning to play guitar online and how to learn guitar chords flawlessly.
Emperor,Beethoven op. 73. By Abbado & Barenboim (1/6)
