Você está na página 1de 56
MICHAEL HAYDN TRUMPET CONCERTO No. 2 for Trumpet, 2 Flutes, Strings and Basso continuo in C major Score and Parts BREITKOPF & HARTEL WIESBADEN - LEIPZIG « PARIS MUSICA RARA MR 1386 MICHAEL HAYDN (1737-1806) Trumpet Concerto No. 2 for Trumpet, two Flutes, Strings and Basso Continuo in C major Trompetenkonzert Nr. 2 fiir Trompete, zwei Fléten, Streicher und Basso continuo C-dur edited by / herausgegeben von Edward H. Tarr Extra string parts available Streicherstimmen einzeln erhaltlich BREITKOPF & HARTEL WIESBADEN - LEIPZIG - PARIS MUSICA RARA MR 1386 Pmted in Germany Previously, high trumpet parts of the Baroque had been associated with the name of Johann Sebastian Bach He often wrote trumpet parts ascending to the 16th and 18th notes of the harmonic series (high c' and d'" respectively), the highest written note being an e" (the 20th note of the harmonic series, for C trumpet) ‘demanded in the final chorale of his Cantata No. 31, the highest sounding note being the thrice-occurring g"" (18th note of the harmonic series, for F trumpet) in the first movement of his Second Brandenburg Concerto, Within the last ten to fifteen years, however, we have become familiar with solo trumpet works of many other composers. Besides the enormous output of trumpet sonatas by Italian and Bohemian composers of the late 17th century, many of which have been published by Musica Rara, we have become familiar with concertos by some of Bach's German contemporaries, notably Telemann and Fasch In recent years, a number of works written by composers of the generation after Bach has come to light, demonstrating the use of the highest clarin register to an extent unknown before. ‘These works sometimes £0 as high as the 24th note of the harmonic series and represent the absolute culmination of the technique of playing in the clarin register. Some of these concertos, which because of their extreme difficulty are only beginning to be published, were written by Johann Melchior Molter (1695-1795), Georg von Reuter d. J (1708-1772), Franz Xaver Richter (1708-1789), and Michael! Haydn (1737-1806). The present concerto by Michael Haydn is one of the finest of the group. The editor has called it “Con- certo No. 2” to avoid confusion with another work in D, actually part of a serenade, which has already become known, for better or worse, as a concerto. ‘The Concerto No. 2 is preserved on pages 1-10 of a manuscript belonging to the archive of the Benedictine monastery of Gattweig, Lower Austria. Pages 11-18 are occupied by a “Larghetto & Trombone Conefertalio”, about which we will speak presently. These and all other works in the manuscript were written by Haydn himself, who states on the upper right-hand corner of page | that the trumpet concerto is “di Michele Hayden m{an plroplria” (“by Michael Haydn in his own hand”), The solo instrument is designated as “Clarino Concfertalto”. A title is missing from the original manuscript, which in the past has led to unnecessary confusion about the nature of the work. The confusion began during Michael Haydn's lifetime. In a thematic catalogue prepared by Nikolaus Lang under the supervision of Haydn for his own use, the two movements for trumpet and the following Langhetto for trombone were listed on page 28, no. 25, asa single work,' even though the orchestration, the solo instrument, and the key of the pieces are totally diverse. L. H. Perger, in his thematic catalogue of Haydn's works published in 1907, included both pieces as no. 4 in section Tb, calling them a “Sinfonia”? When T. Donley Thomas called attention to these pieces, particularly to the movement with trombone, in 1962,? he did not realize that the first two movements in the manuscript actually form a closed unit It is quite clear, however, that we are dealing with a complete trumpet concerto in two movements, like Leopold Mozart’s well-known trumpet concerto in D, written in 1762, 2 T. Donley Thomas, “Michael Haydn's “Trombone” Symphony”, Brass Quarterly V1 (1962), 5. * LT Perper, “Thematisches Verzeichnis der Instrumental-Werke von Michas! Haydn”, Denkmaler der Tonkuast in Oester- reich, Jabrgag 14)3-—Hend 62 (Vienna 1907) T. Donley Thomas, op. ci 38. + Benin 196, withthe excelient recording made by Armando Ghital to.asa"sinfonia™ on the cover and on the record label, and or Cambridge records (CRS 2823), the piece i referred concerto" in the anonymous jacket notes. MR. 1386