Bachs Brandenburg No.

2 Trumpets Mount Everest

The development of the trumpets body of repertoire illustrates a history of turbulence and progression closely related to the continual reinvention of the instrument. The modern trumpet player does not have the privilege of performing a masterwork by Mozart or Beethoven, largely owing to the perceived and actual limitations of the instrument during the classical period. These same restrictions were met courageously during the earlier Baroque period, representing a substantial body of work composed for the Natural Trumpet. The greatest of these pieces is Bachs Brandenburg Concerto Number 2. Anne Hardin stated the trumpet communitys sentiment, the Brandenburg is our piece de resistance. Those who do perform it are set apart from the trumpet-playing-rest, having distinction as those who can play Bachs Brandenburg Concerto No. 2. The Brandenburg is the pinnacle of Baroque trumpet composition and remains to this day as a viable and challenging piece of the trumpets repertoire. The Brandenburg concertos were composed in the early 18th century and were named for their dedication to the Margrave of Brandenburg. Consisting of six separate works, the Brandenburg focuses entirely on instrumental music, displaying several instruments in different combinations. Number 2 showcases trumpet, recorder, violin and oboe in concerto grosso style. This element of the group being featured rather than a single soloist will prove to be a vital consideration in modern performance.

The Second Brandenburg concerto features virtuosic Clarino trumpet playing, it is important to note that despite the fireworks displayed throughout, the trumpet must also maintain its position within the ensemble. This type of multiple role trumpet playing is clearly demonstrated in Vivaldis Concerto for Two Trumpets, as well as Purcell and Handels trumpet and voice duets. The velocity and range that is demanded by Bach is virtually unprecedented and unmatched, while still maintaining a compositional sensitivity and understanding of the instrument. In an article published in the Historic Brass Society Journal, the author states that, We may reasonably suppose that Reiche did, in fact, play the second

Brandenburg concerto under Bach's direction with the collegium musicum at one or another of the venues where he is known to have performed with that ensemble. Gottfried Reiche was a craftsman of natural brass instruments and quite
possibly the reason that Bach was able to realize such a virtuosic and challenging piece. Reiche performed the Brandenburg on the natural trumpet, a valveless instrument that relied on the players ability to navigate the upper partials of the overtone series in order to play diatonic pitches. Shortly after the 18th century, many of the secrets of the craft of natural brass playing were lost and fell out of fashion. Over the next hundred and fifty years the trumpet continued to evolve, utilizing keys and eventually pistons to access the chromatic scale through all registers without any substantial sacrifices in tone quality. The modern trumpet player is fortunate to have severable options for performing a piece like the Brandenburg.

The piccolo trumpet has become the standard for the modern soloist to approach baroque trumpet literature. Pitched an octave above a standard Bb trumpet, most instruments allow the player to change the pitch in order to accommodate a particular piece. The piccolo trumpet will either use piston or rotary valves, pistons being brighter and rotary achieving a tone closer to the darker and less aggressive sound of the natural trumpet. See End Notes 1. Regardless of the equipment that is chosen to execute this piece, it is the sound concept of the performer that will have the greatest impact on the overall musical statement. As mentioned earlier, the Brandenburg Concertos are Concerto Grossi, and while it is tempting for the trumpet player to feel like this is their chance to shine, the reality is that the trumpet is being paired with recorder. Trumpet soloist David Hickman addressed this stylist concern specifically when dealing with music that was written for what is practically a different instrument, commenting on the need to steer away the piston trumpets tendency to overpower the ensemble. Almost 300 years after its premiere, the Brandenburg Concerto Number 2 still lies outside of reach of the majority of trumpet players, technically and musically. As a trumpet player, the need to understand the history and context of this piece is just as important as the technical prowess needed to perform it the way it was intended by the composer. In order to help forward the ancient craft of trumpet playing, the Brandenburg is one mountain that every trumpet player should strive to scale.

End Notes 1. For a better idea of the differences tonally between natural and piston trumpets, please refer to these two contrasting recordings of the first movement. https://www.youtube.com/watch?v=jYeubL8ZwZw. https://www.youtube.com/watch?v=PNMbXJtKOKA.

Bibliography

Bach, Johann Sebastian. Bach - Brandenburg Concerto No. 2 in f Major Bwv 1047 - 1. Allegro (Video). Accessed April 6, 2014. https://www.youtube.com/watch?v=jYeubL8ZwZw. Bach, Johann Sebastian. Maurice Andre Plays Bach (MP3). Accessed April 6, 2014. https://www.youtube.com/watch?v=PNMbXJtKOKA. Hardin, Anne. The 1996 Euro-Itg Trumpet Days. International Trumpet Guild Journal (May, 1996): 1. Accessed April 6, 2014. http://www.trumpetguild.org/journal/m96/9605HarE.pdf. Hickman, David. Trumpet Pedagogy: A Compendium of Modern Teaching Techniques. Chandler, AZ: Hickman Music Editions, 2006. Johnson, Keith. The Art of Trumpet Playing. 2nd ed. Denton, TX: Gore Publishing, 1994. Smithers, Don. Bach, Reiche and the Leipzig Collegia Musica. Historic Brass Society Journal 2 (1990): 29-32. Accessed April 6, 2014. http://www.historicbrass.org/portals/0/documents/journal/HBSJ_1990_JL01_web_0 01_Smithers_2769.pdf.

Music Literature 1 Assignment 6 Brandenburg Concerto No. 2 J.S. Bach Bradley Myers