rowuk

Doesn't surprise me at all. Matthias is one of the top players in the world. He for sure has not stopped studying the trumpet!

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Bob Grier

Like you I've been working with the Haydn since I was in high school. Way too long ago. I take a little different view of the piece. I look at it as a melding of the old with the new. Haydn was at the threshold of a new way of writing for the trumpet. For the very first time the trumpet could play all the chromatic notes. Along with references to the Clarino style of the natural trumpet there are references to the field trumpet calls. But from the very first phrase the audience heard notes never before played by a trumpet. I always try to teach my students that the more educated you are about the music the better informed your performance will be. It will also be more fun to play. I firmly believe that one should know as much about the history of not only the piece itself but the history of the composer and the world they lived in. Of ourse you should know as musch about performing the musical style of the period. My least favorite recording besides Al Hirt's is Rafael Mendez's. Even though Mendez has always been my idol, I find his recording too romantic in style. One of my favorite recordings is by Phil Smith.

Have you ever worked with Edward Tarr's edition of the Haydn? It the best edition I've found to date.

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rowuk

Bob,
what I like about Al Hirt and Mendez is that they do not try and pretend that they are orchestral musicians. They give the Haydn the spice of their own character. One of my least favorite is Mr. Smiths. My favorite is Timofei Dokshizers.

I used to really get deep into the source, historic correctness and playing practice. I spent a lot of time considering articulation, style and what Haydn probably heard. I accepted little else. In the mean time, it has been a revelation to realize that music is timeless, expression is boundless and that it is more important to play your soul than to attempt something that is not deeply ingrained. That could be the historically correct rendition with a keyed trumpet or a very avante garde version played on a soprano saxophone or tuba with electronic accompaniment.

The further away from "standard" that we get, the harder it is to get an audience though.

Some of the orchestras that I have played this with used the Tarr Edition. I have a facsimile of the original that I used for a reference, but haven't used sheet music for 20 years or so. The edition that I bought back in the 70s was by Carl Fisher edited by Goeyens. There is a LOT of pencil in there if I remember correctly.

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Whenever I feel blue, I start breathing again.

Vulgano Brother

Hmmm... Thanks guys, for the food for thought. On the one hand we have the "orchestra audition" Haydn and the avant-garde weird keyed-trumpet original. Hearing it played by a great alto-saxophone player might just teach us tons....

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