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TRUMPET CONCERTO IN E-FLAT

Johann Nepomuk Hummel

Within his diverse oeuvre, Hummel wrote several works for the keyed trumpet, an instrument that typically employed five keys rather than valves and had a smoother, more clarion tone than the modern trumpet. The first keyed trumpet was likely made in Dresden, Germany, around 1770, but it was the Viennese court trumpeter Anton Weidinger who brought the instrument to prominence until it was supplanted by the modern valve trumpet in the 1840s. Two of the most substantial concerti in the modern trumpet repertoire were originally written for Weidinger and his keyed instrument: Haydn’s Concerto in E-flat, Hob. VIIe:1 and this Hummel Concerto, originally written in the key of E. Both works were designed to showcase the increased chromatic capabilities of the unique keyed trumpet as compared to other brass instruments of the time. Hummel finished his manuscript on December 8, 1803, and Weidinger performed it three weeks later for a New Year’s tafelmusik (dinner music) at the imperial court in Vienna and kept it in his repertoire for many years after.

I ALLEGRO

 The first movement is cast in a standard sonata form with the
added interest of a double-exposition, in which the orchestra states both main themes completely
before they are repeated by the soloist. The melody at the opening of the concerto is strongly
reminiscent of Mozart’s famed Symphony No. 35 in D, nicknamed Haffner, and the jaunty
dotted rhythms of the secondary theme offer a tip of the cap to the composer’s predecessor at the
Esterházy Court. 

II ANDANTE

The Andante second movement is a rather serious and even dramatic aria over
triplet accompaniment, showing off the instrument’s melodic qualities with flowing runs and
extended trills. 

II RONDO

The Finale is the most light-hearted of the three movements, a rondo that contains
a quoted march melody by Luigi Cherubini that would have been well known in Hummel’s time,
though the gesture is lost on most modern audiences. Here the virtuosic characteristics and
flourishes in a wide variety of keys show off the capabilities of both the contemporary
instrument and its dedicatee.

IMPROVISATION

In this section, the melody of all three parts is brought together to play improvisation

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I ALLEGRO

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II ANDANTE

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II RONDO

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IMPROVISATION

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