My performance is predicated upon the belief that the Haydn Concerto is best performed using the long b-flat trumpet. Now it is correct to note that the work was not written for the B-Flat Trumpet. It appears to have been written for the keyed trumpet....an instrument bearing a demeanor similar to the saxophone with its functioning system of clappers to be opened or closed as appropriate. Like the usual brass instruments a cup mouthpiece was employed.
In 1946, another English trumpeter, Harry Mortimer (1902 - 1992), made a recording of the whole Concerto with the Philharmonia Orchestra. It was recorded on June 16, 1946 in the Kingsway Hall, London.
The complete package consists of: (1) Hunt's edited performance of the Haydn Concerto - Movs. I , II, and III.
(2) The recorded orchestral accompaniment* (Peters' Edition), by the Polish Chamber Philharmonic Orchestra (Zygmunt Rychert, Cond.), was provided courtesy of Sabine Springer, Stuttgart Germany.
(3) Recorded comments and alternative suggestions for performance.
(4) An " Hunt edited" solo trumpet part that includes both I and III mov. cadenzas.
(5) Some comparative recorded demonstrations using both the "short" Eb trumpet and the "long" Eb trumpet.
(6) Yep! Played on the Bb Trumpet! How'd you guess? (grin) This concerto was NOT composed for the
"short" E-Flat Trumpet !! (They virtually weren't available in Haydn's time). Shilke B2, ml bore with
a large bell. Ser. # 1374 (Lots of dents). Bach # 1 mouthpice (No plating remaining.)
This recording is dedicated to my childhood, Trans-Atlantic cornet mentor, Mr. Willy Lang of North Yorkshire, UK. Keep 'Em Flyin'!
Be certain to specify Bb trumpet or Eb trumpet parts !!!
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A word about the stereophonic recordings from B-Flat Music Production. Our recordings are produced using a pair of Crown PCM Pressure Zone Boundary Mics, which enable all the musicians to sound as if they are all equally close to the mic. The resulting signal is fed into a stereo Tascam mixer. Our first processor was an outboard two channel unit, recording direct to digital audio on a Beta Video Machine. When the Akai Dr4d Hard Drive recorder became available we switched to this newer format. As a matter of principle, we allowed no further tampering with the signal, except for a "room size" digital environment: No compression, limiting, or dolby noise reduction.
THE FIVE MYTHS OF TRUMPET PLAYING extracted from SAIL THE SEVEN C's MYTH #1 Only special freaks can play in the high register. Don't waste precious time trying to duplicate their efforts. There are plenty of notes below high C upon which to devote your time and effort. FACT: Nearly any player can dramatically improve his or her high register. What is needed is the desire to do so, and a dedicated, systematic approach. The high register will not succumb to the casual player. MYTH #2 If I could find just the right mouthpiece, I too could be a high note artist. FACT: There are mouthpieces which facilitate brilliance and intensity of sound. These mouthpieces, sometimes labeled high velocity, are more "V" shaped as opposed to bowl shaped. Sometimes, usually at the music store when we are trying mouthpieces, almost any mouthpiece appears to be superior to the one we are now playing - hence the answer to all our prayers. But pitch is determined by frequency of vibration of your lip. If you can play a C4 on a Schilke 5a4a, you can also do so on a Bach #1. Don't get into the drawer full of mouthpieces syndrome. Choose a rim that is comfortable and learn to play it. I am convinced that a larger cup diameter and a more open throat, which permits a larger airstream, actually facilitates the development of the high register. MYTH #3 I need a special trumpet. FACT: Mouthpiece tapers, varying bores, different bell sizes, and various alloys will alter the timbre and playing characteristics of an instrument. But the instrument, in fact, has even less to do with lip vibration, which determines pitch, than does the mouthpiece. MYTH #4 Playing and practicing in the high (G2 to C5) register will ruin the middle and low registers, and make my tone brittle and laser-like. FACT: Not practicing all registers equally will allow one-sidedness to take place. Practicing the pedal register, especially, will serve to counteract the extreme compression required to perform the high register. More than likely, a piercing, laser-like sound and a too blatty low register is really the fault of a too small, too shallow mouthpiece. This combination leads to jambing the mouthpiece for the high tones, which is sure to elicit the above mentioned complaints. MYTH #5 You must play in all registers without changing your embouchure, or play in all registers without re-setting your lips. FACT: I don't disagree in principle with the above statement. But I believe it has been widely misinterpreted because of semantics and/or insufficient explanation. The opening quote, taken literally, is nonsense! No two tones are played with precisely the same lip setting, let alone an entire register. What is required is a constantly adjusting embouchure, capable of moving from the bottom register through to the top register without the necessity of stopping along the way to regroup your chops. Re-read the last sentence and memorize it! It is of the utmost urgency that you understand what is meant. The understanding which you believe that you have right now will probably be altered as you progress toward the Constant Adjustment Embouchure.*s Clyde Hunt Extracted from SAIL THE SEVEN C'S (C) Copyright B Flat Music Production.
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