November 22, 2024 | Author: Dominic Nicholas | Category:Repertoire Guides
A baroque trumpet
Some of the greatest trumpet repertoire was written during the baroque era, from roughly 1600–1750. This was despite the instrument of the time being relatively crude—in essence a pipe with a flared bell at one end and a mouthpiece at the other. Valves, which allow the instrument to play melodies across the instrument’s whole range, were not invented until the nineteenth century.
A example of a natural trumpet, with neither valves nor keys. [Source: Wikipedia]
As a result trumpeters had to learn to play in the very highest ‘clarino’ register of the instrument, the only place where notes were close enough together to form proper melodies. Though the pieces written for these players are, because of their range, some of the trickiest in the repertoire, many of them are very fine indeed. And, luckily, here on 8notes we can transpose these pieces into a range that makes them more accessible—members can request this at any time!
Here, then, are some of our absolutely favourite baroque trumpet pieces.
‘The Trumpet Shall Sound’ is an aria from part three of Handel’s much loved oratorio ‘Messiah.’ It is written for a bass singer with trumpet ‘obligato’ (i.e. obligatory or ‘must-have’), though in reality the trumpet shines at least as much, if not more, than the bass soloist. One of the striking things about it is the way the trumpet moves from the martial fanfare sounds in the lower register to glorious melodic lines in the upper register.
Like many pieces with the title ‘Trumpet Tune’ or ‘Trumpet Voluntary’ this piece by the great English composer Henry Purcell (1659–1695) was originally for organ. ‘Trumpet’ indicates the stop or sound that the player would use for the solo line of the piece. There is a long tradition, however, of these pieces being transferred to an actual trumpet. Purcell’s Trumpet Tune is particularly popular choice for weddings, making it an essential work for aspiring players to have in their repertoire.
Jeremiah Clarke (c.1674–1707) is considered a lesser figure in English music. So much so that poor Jeremiah’s most celebrated piece was for along time believed to be by his more illustrious contemporary, Henry Purcell. The piece was originally for harpsichord, its suitability for trumpet leading to its later title ‘Trumpet Voluntary,’ playable on an organ or, much better, on an actual trumpet. It is also a very popular choice at weddings—it was played, for example, at the wedding of Prince Charles and Lady Diana Spencer in 1981.
Telemann’s Trumpet Concerto in D Major (written some time between 1710-20) is his only piece in this genre and one of the greatest of the Baroque period. It is also one of the trickiest, making great use of the high ‘clarino’ register.
The work itself lies something between a baroque suite and a classical concerto, being in four rather than three movements in a slow-fast-slow-fast plan. The lyrical opening movement is particularly lovely:
Another famous Handel aria with an obligato trumpet, this time from his oratorio ‘Samson.’ It is an exhilarating and exuberant piece, perfect for weddings and other celebrations—indeed this piece also featured in the wedding of Prince Charles and Lady Diana Spencer in 1981, where it was placed by John Wallace, with Kiri Te Kanewa singing soprano.
Vivaldi’s Double Trumpet Concerto, with it bold opening three note statement followed by a stream of sinewy imitation is easily the most famous work for two solo trumpets. Being in C, rather than the more common baroque trumpet pitch of D, it’s not quite so stratospherically high as other works, making it more accessible, if not exactly easy. The short middle movement, where the trumpets do not play, allows the soloists regroup before the flashy and, echoing the opening, imitative final movement.
Bach’s Brandenburg Concerto No. 2 is legendary amongst trumpet players. This may seem surprising, since it is not even a solo concerto, but a concerto grosso, i.e. for several solo instruments, in this case trumpet, recorder, oboe and violin. It derives its, one might say, ‘notorious’ status from the severe technical difficulties it poses. Not only does it require great agility, but it is written for a trumpet in F, making use of very high ranges indeed. Played well, however, it is one of the most exhilarating pieces in the trumpet catalogue.
Bach was also very partial to writing the occasional aria with obligato trumpet. His most celebrated of these is ‘Jauchzet Gott in allen Landen’ (‘Should for joy to God in every land!’), the opening movement from his Cantata, BWV 51. The mood throughout is one of ecstatic jubilation, with rapid repeated notes and wide leaps in the lower register and high virtuosic passage work elsewhere.
