Marianne Li, Orchestra da Camera Domenico Mazzocchi del Civita Festival, Martin Sieghart - Haydn, Hummel: Trumpet Concertos (2025) [Hi-Res]
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BAND/ARTIST: Marianne Li, Orchestra da Camera Domenico Mazzocchi del Civita Festival, Martin Sieghart
- Title: Haydn, Hummel: Trumpet Concertos
- Year Of Release: 2025
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz
- Total Time: 00:35:19
- Total Size: 170 / 621 mb
- WebSite: Album Preview
Tracklist
01. Trumpet Concerto in E-Flat Major, Hob. VIIe: (1796): I. Allegro plus Cadenza
02. Trumpet Concerto in E-Flat Major, Hob. VIIe: (1796): II. Andante
03. Trumpet Concerto in E-Flat Major, Hob. VIIe: (1796): III. Finale. Allegro
04. Trumpet Concerto in E-Flat Major, WoO1 S.49 (1803): I. Allegro with Spirit Plus Cadenza
05. Trumpet Concerto in E-Flat Major, WoO1 S.49 (1803): II. Andante
06. Trumpet Concerto in E-Flat Major, WoO1 S.49 (1803): III. Rondó
The Haydn Trumpet Concerto in E flat is one of the most celebrated works in the classical repertoire for trumpet. Written in 1796 for Anton Weidinger, a prominent Viennese trumpeter, the concerto was composed to showcase the capabilities of the newly invented keyed trumpet, which allowed performers to play chromatic notes with greater precision. This innovation marked a significant departure from the limitations of the natural trumpet, which could only produce notes within the harmonic series. Haydn’s concerto not only highlights the technical advancements of the instrument but also reflects his compositional mastery.
The concerto is structured in the traditional three movements: Allegro, Andante and a Finale marked Allegro. The trumpet part is both lyrical and virtuosic, with scales, arpeggios, and ornamental runs showcasing the keyed trum- pet’s ability to navigate chromatic passages. The energetic themes reflect Haydn’s characteristic wit and elegance, while the interplay between soloist and orchestra demonstrates his skill in orchestration. The Hummel Trumpet Concerto in E (ge- nerally transposed to E flat in modern performances) is also a cornerstone of the trumpet repertoire and a brilliant example of late Classical-era music. It was written in 1803 for the same dedicatee as the Haydn, Anton Weidinger, and its style bridges the transition from the Classical to the Romantic period. Hummel was a contemporary of Beethoven and a pupil of Mozart, and his concerto is infused with elegance, technical brilliance and expressive lyricism.
Hummel composed the concerto during his tenure as court composer to Prince Esterházy (Haydn was in fact his predecessor in that post). Weidinger, a tireless advocate for the keyed trumpet, collaborated with composers to expand its repertoire, and Hummel’s concerto is among the finest examples of these efforts. The concerto’s three movements are Allegro con spirito, Andante and a Rondo marked Allegro molto. Together, they highlight the versatility of the keyed trumpet while adhering to Classical ideals of balance and clarity.
A majestic orchestral introduction sets the stage before the trumpet enters with a declarative theme that showcases its expanded range. Contrasting lyrical and virtuosic passages allow the soloist to demonstrate technical mastery, and Hummel’s use of chromaticism, made possible by the new instrument, adds a distinctive flair and novelty to the work.
01. Trumpet Concerto in E-Flat Major, Hob. VIIe: (1796): I. Allegro plus Cadenza
02. Trumpet Concerto in E-Flat Major, Hob. VIIe: (1796): II. Andante
03. Trumpet Concerto in E-Flat Major, Hob. VIIe: (1796): III. Finale. Allegro
04. Trumpet Concerto in E-Flat Major, WoO1 S.49 (1803): I. Allegro with Spirit Plus Cadenza
05. Trumpet Concerto in E-Flat Major, WoO1 S.49 (1803): II. Andante
06. Trumpet Concerto in E-Flat Major, WoO1 S.49 (1803): III. Rondó
The Haydn Trumpet Concerto in E flat is one of the most celebrated works in the classical repertoire for trumpet. Written in 1796 for Anton Weidinger, a prominent Viennese trumpeter, the concerto was composed to showcase the capabilities of the newly invented keyed trumpet, which allowed performers to play chromatic notes with greater precision. This innovation marked a significant departure from the limitations of the natural trumpet, which could only produce notes within the harmonic series. Haydn’s concerto not only highlights the technical advancements of the instrument but also reflects his compositional mastery.
The concerto is structured in the traditional three movements: Allegro, Andante and a Finale marked Allegro. The trumpet part is both lyrical and virtuosic, with scales, arpeggios, and ornamental runs showcasing the keyed trum- pet’s ability to navigate chromatic passages. The energetic themes reflect Haydn’s characteristic wit and elegance, while the interplay between soloist and orchestra demonstrates his skill in orchestration. The Hummel Trumpet Concerto in E (ge- nerally transposed to E flat in modern performances) is also a cornerstone of the trumpet repertoire and a brilliant example of late Classical-era music. It was written in 1803 for the same dedicatee as the Haydn, Anton Weidinger, and its style bridges the transition from the Classical to the Romantic period. Hummel was a contemporary of Beethoven and a pupil of Mozart, and his concerto is infused with elegance, technical brilliance and expressive lyricism.
Hummel composed the concerto during his tenure as court composer to Prince Esterházy (Haydn was in fact his predecessor in that post). Weidinger, a tireless advocate for the keyed trumpet, collaborated with composers to expand its repertoire, and Hummel’s concerto is among the finest examples of these efforts. The concerto’s three movements are Allegro con spirito, Andante and a Rondo marked Allegro molto. Together, they highlight the versatility of the keyed trumpet while adhering to Classical ideals of balance and clarity.
A majestic orchestral introduction sets the stage before the trumpet enters with a declarative theme that showcases its expanded range. Contrasting lyrical and virtuosic passages allow the soloist to demonstrate technical mastery, and Hummel’s use of chromaticism, made possible by the new instrument, adds a distinctive flair and novelty to the work.
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