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Haydn, Joseph Joseph Haydn
Autriche Autriche
(1732 - 1809)

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268 MP3
163 MIDI



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Haydn, Joseph: Allegro from the Trumpet Concerto for Trumpet & Piano

Allegro from the Trumpet Concerto for Trumpet & Piano
Hob.VIIe:1 Mvt. 1
Joseph Haydn




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EcouterTélécharger MP3 : Audio principal (7.81 Mo)475x 2358x VoirTélécharger PDF : Allegro from the Trumpet Concerto (Hob.VIIe:1) for Trumpet & Piano (10 pages - 227.66 Ko)1727x
VoirTélécharger PDF : Bb Trumpet Part (94.45 Ko)
VoirTélécharger PDF : Piano Part (186.83 Ko)
 

 
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Allegro from the Trumpet Concerto for Trumpet & Piano
Télécharger MP3 (5.81 Mo) : (par Magatagan, Michael)173x 460x
Allegro from the Trumpet Concerto for Trumpet & Piano
Télécharger MP3 (5.68 Mo) : (par Magatagan, Michael)120x 184x
Allegro from the Trumpet Concerto for Trumpet & Piano
Télécharger MP3 (5.84 Mo) : (par Magatagan, Michael)254x 178x



Compositeur :Joseph HaydnHaydn, Joseph (1732 - 1809)
Instrumentation :

Trompette et Piano

  2 autres versions
Genre :

Classique

Arrangeur :
Editeur :
Joseph HaydnMagatagan, Mike (1960 - )
Date :1796
Droit d'auteur :Public Domain
Franz Joseph Haydn (1732-1809) is the composer who, more than any other, epitomizes the aims and achievements of the Classical era. Perhaps his most important achievement was that he developed and evolved in countless subtle ways the most influential structural principle in the history of music: his perfection of the set of expectations known as sonata form made an epochal impact. In hundreds of instrumental sonatas, string quartets, and symphonies, Haydn both broke new ground and provided durable models; indeed, he was among the creators of these fundamental genres of classical music. His influence upon later composers is immeasurable; Haydn's most illustrious pupil, Beethoven, was the direct beneficiary of the elder master's musical imagination, and Haydn's shadow lurks within (and sometimes looms over) the music of composers like Schubert, Mendelssohn, and Brahms.

A favorite of the trumpet repertoire and possibly Haydn's most popular concerto, this work was composed in 1796 while the composer was working on the Creation. In the final years of his career Haydn seemed to prefer large choral works to instrumental pieces, but he was intrigued by a request for a concerto from Anton Weidinger, the trumpeter in the Vienna Court Orchestra. The valveless trumpets of the time could play only notes derived from a fundamental pitch and its related harmonic series, and so trumpet music tended to be melodically limited. Weidinger invented a keyed trumpet along the lines of a woodwind instrument; with drilled holes in the body of the instrument, the player could easily raise the pitch in half-tone steps, enabling them to play chromatic passages. The modern trumpet has been greatly refined since Weidinger's time, but the principle remains the same. Weidinger did not perform the Concerto in public until 1800. Surviving in a single manuscript copy, this extraordinary work wasn't performed again until 1929.

Splendidly orchestrated, Haydn's concerto fully exploits the trumpet's new technical abilities. The opening Allegro is festive and radiant, with the orchestra introducing the main themes before they're taken up by the soloist. There's a motif that initially rises, subsequently allowing the trumpet to show off its new stock of notes in the low register. This motif evolves into a fanfare-like subject, which the soloist enriches with effective trills and other ornamentation. The development section requires the trumpeter to play in different keys, which would have been impossible on a valveless trumpet. Opening with a lovely, expansive melody in siciliano style, the second movement reveals the full lyrical and expressive potential of the new trumpet. In addition, this movement, which exemplifies the consummate melodic artistry of Haydn's late works, showcases the instrument's ability to easily modulate from key to key. Written in a sonata rondo form, the concluding Allegro begins with an angular, fanfare-like theme, continuing with material which calls upon the soloist's dexterity in handling trills and other technical effects. Following a concise, brief development section which mainly negotiates primary thematic material, a recapitulation leads the trumpeter to a higher, brighter tessitura. A spirited combination of technical brilliance and musical élan, the third movement ends with a gleaming, celebratory coda.

Although originally written for Orchestra with solo Bb Trumpet, this simplified arrangement pairs the Trumpet with Acoustic Piano.
Source / Web :Musescore
Ajoutée par magataganm le 2013-05-13
Partition centrale :Concerto pour Trompette, VIIe:1 (13 partitions)
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Cette partition est associée à la collection de magataganm :
Piano
Piano
des arrangements pour piano
Liste des partitions :
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› "Ave Maria" (de Somma) for Piano - Piano seul
› "Ave Maria" for Piano - Piano seul
› "Ave Maria" for Piano - Piano seul
› "Ave Maria" for Piano & Clarinet Quartet - Clarinette, Piano





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