trumpetnick

The following question is not necessarily adressed to Ed, so I would be quite happy to receive any other answers regardless of the fact who post first....

I have to perform the concerto next week, but still have some time to make small changes in my performance if I want to.

The question is about the articulations chosen. In the 3rd movement most players choose to slur 2-tongue 2. Well, I decided differently Not that I fell greater than all these trumpeters before me, but I have not found a firm confirmation for such conception. I decided to tongue all 16 notes. It sounds fine for me, though a bit crisper then the middle off the road performance.

So, what do you think guys? I asked nobody yet about this, so I would appreciate to hear all kind of opinions arguments etc

bike&ed

Wynton Marsalis tongued all the 16ths on his recordings I have heard, and it sounds fantastic. Perhaps it's not so unusual after all...?

Vulgano Brother

Check the urtext. The next best reference is the Tarr/Landon edition. If Haydn did not specify the articulation, valid arguments can be made for lots of alternatives to the slur two tongue two articulation. "Historical correctness" can be anything from using a keyed trumpet (ultimate) to rotary Bb (old school). A solo for trumpet is so "outside" the normal classical orchestral writing, that you could even approach it like a German baroque piece if that is your conviction--a bit of a stretch, true, but our best honest interpretations are more meaningful than just another perfect playing of the page. That's the Vulgano approach, anyway. Have fun, Nick!

rowuk

Nick,
to be honest, your performance will NOT be remembered for the 16ths that you tongued or slurred, it will be remembered for how CONVINCINGLY you played the whole thing!

2 tied/2 tongued gives a strong sense of the beat that also can be accomplished when tonguing all! That sense of beat is what gets the audiences foot tapping - rhythmn is definitely a good thing.

Good luck!

ecarroll

Nick,

I like everything that I'm reading in response to your question, particularly Robin's "it will be remembered for how CONVINCINGLY you played the whole thing". Bravi.

TMers, please keep in mind that by introducing a tie between any notes in a 16th note pattern you are creating an emphesis on that beat. This can be effective in music from the classical period if it's done a primary beat and a disaster if it's thoughtlessly placed on a secondary beat (save syncopation for Joplin, not Mozart or Haydn).

You'll be terrific, Nick. Close your eyes and enjoy your performance!

Best,
EC