Skip to main content

Georg Philipp Telemann - Trumpet concerto in D major


Georg Philipp Telemann composed only one concerto for solo trumpet—a fact that may seem surprising, given the instrument’s great popularity during the Baroque period. The trumpet most commonly used in Telemann’s time was the high trumpet in D, prized for its brilliant and penetrating sound. Although he employed the trumpet in various orchestral contexts and even wrote a concerto for three trumpets, this work remains his sole concerto for a single trumpet soloist.

The Trumpet Concerto in D major showcases both the ceremonial brilliance and the lyrical potential of the instrument, framed within a clear and balanced four-movement structure.

Μovements:

Ι. Adagio

The concerto opens unusually without an orchestral introduction. The solo trumpet enters immediately, unfolding a long, flowing melody. Beneath it, the strings and harpsichord establish a steady, almost hymn-like rhythmic foundation, lending the movement a restrained and dignified character.


ΙΙ. Allegro

The second movement begins with the strings, launching the Allegro with energetic momentum. In contrast to the noble calm of the opening Andante, this movement is driven by lively rhythms and bold gestures. Trumpet and strings engage in lively dialogue: the orchestra comments on the soloist’s phrases and occasionally introduces new, spirited melodic ideas of its own.


ΙΙΙ. Grave

The slow and formal Grave is reserved entirely for the strings and continuo. The trumpet remains silent, and the brilliance of the previous movement gives way to a calm, introspective atmosphere. A gentle violin melody in a minor key replaces the trumpet’s brightness, offering a moment of expressive contrast and repose.


IV. Allegro

After a brief preparatory note, the trumpet returns to lead the final Allegro. The solo line carries an almost military character, marked by clarity, strength, and rhythmic confidence. Although the strings contribute actively to the movement, the trumpet unmistakably dominates—most strikingly in the climactic moment when it ascends to the very top of its range, concluding the concerto with a brilliant high note.



You can watch the whole concert, here:



Comments

Popular posts from this blog

Robert Schumann - Träumerei (from Kinderszenen, Op. 15 No. 7)

The Woodman’s Child by Arthur Hughes reflects the dreamy and introspective atmosphere of Schumann’s Träumerei from Scenes from Childhood . For Robert Schumann , music was almost always a deeply personal expression of introspection, emotion, and poetic reflection—qualities that firmly establish him as one of the most significant composers of the Romantic era. The piano was Schumann’s first great love, and his works for the instrument have proved remarkably enduring over time. Schumann composed Kinderszenen ( Scenes from Childhood ), his best-known piano cycle, in 1838. It consists of thirteen “peculiarly small pieces,” as the composer himself described them, each bearing a title that evokes a distinct childhood impression or memory. Although all thirteen pieces share a sense of intimacy and charm, “Träumerei” ( Dreaming ) stands out as the most beloved and universally recognized. The piece is frequently included in solo piano anthologies and is often chosen by virtuoso perform...

Johann Strauss II - Tritsch-Tratsch-Polka, Op. 214 in A major

The Tritsch-Tratsch-Polka , Op. 214, was composed in 1858 by Johann Strauss II following a highly successful concert tour in Russia. During the summer season, Strauss performed regularly at Pavlovsk, near Saint Petersburg, a fashionable venue for open-air concerts that played a crucial role in shaping his international reputation. Shortly after his return, the polka was premiered in Vienna on 24 November 1858. The title itself reveals Strauss’s playful wit. In German, “Tratsch” refers to gossip or idle chatter, while “Tritsch” carries no literal meaning. Together, the words form an onomatopoeic pun, imitating the sound of lively conversation—much like the English expression “chit-chat.” Such wordplay was characteristic of Strauss, who delighted in pairing light-hearted music with humorous or evocative titles. True to its name, the Tritsch-Tratsch-Polka bursts with energy and rhythmic vitality. Strauss once remarked that dancers might happily pause their movements, engaging in anima...

César Franck – Sonata in A Major for Violin and Piano

  Caricature of the celebrated Belgian violinist Eugène-Auguste Ysaÿe , for whom this sonata was composed and presented as a wedding gift. This radiant work ranks among the most beautiful compositions of César Franck . Although written when the composer was already past sixty, it possesses the emotional vitality and expressive intensity more commonly associated with the music of a much younger man. Dreamlike and often deeply romantic in character, the sonata was presented as a wedding gift to the distinguished Belgian violinist Eugène-Auguste Ysaÿe on 28 September 1886. A Stormy Dispute Franck worked on the sonata during the summer months, demonstrating his remarkable ability to shield his creative life from everyday turmoil. In the two or three years preceding its composition, intense disputes surrounded him, largely stemming from artistic disagreements with the established French composer Camille Saint-Saëns . Yet no trace of this unrest disturbs the serenity and balance of the ...