by the solo cornets in the first 10 bars. The theme is then repeated in the solo flugal part with some minor changes to the rhythm. In bar 22, the ascending C major scale in the solo cornet and the descending A minor scale in the 2nd and 3rd cornet parts acts as an introduction to the development. Where the crescendo acts as a climax and seems to introduce a new idea, but in the second bar of the development (24) it is revealed as an elaboration of the main theme. It goes back to a piano whereas the accompaniment is marked pp-ppp. The development goes for 30 bars. The piece then moves onto the Recapitulation, where the principal theme is re-introduced from the solo flugal with some added tone colour. The piece then ends with the CODA.
The form of Haydn’s Trumpet Concerto is also in sonata form. (Introduction, Exposition, Development, Recapitulation and CODA) The introduction (1-44) introduces the main 12 bar theme in the violins and the flute;
It also introduces ideas that are played throughout the piece though various instruments. The Exposition (45-124) clarifies the 12 bar theme in the solo Trumpet part by restating the theme that was first introduced by the violins (shown above). The Development (124-180) elaborates more on the exposition. The pause in bar 124 indicates the resolution of the exposition and the introduction to the development. The development restates the theme with a canonic flute playing the theme in a canon to the trumpet part. In bar 142 it plays the melody in F major and doesn’t change key until bar 185 where the Bb accidental disappears. The end of the development is stated in the descending semiquaver runs in the 1st violin. The Recapitulation recaps on what has happened throughout the piece. It restates the main 12 bar theme with the Bassoon playing along with the solo trumpet part. It also plays around with the melody, 204-220 is played as a fanfare-like motive that had been developed from the 1st violin part in the introduction in bar 33. The development then ends with an improvised cadenza played by the solo Trumpet. The piece then ends with the CODA straight after the cadenza, where the theme is played and the 1st violin and viola play a semiquaver motive though the solo trumpet playing quavers. Ending with a strong ff fanfare by the Trumpets and the French Horn and a C Minor chord with a G bass as the final chord.
The use of sonata form in the classical period was mainly used towards the end of the Classical period and into the Romantic Period, although it was still used in the classical era. Given that both pieces are in sonata form we can’t tell the difference by the use of form if it is from the classical period.
The pitch within the piece Concerto De Aranjuez varies throughout the parts. In the bass line the pitch is quite low, to the Eb Soprano Cornet line where it plays an octave above everyone else at the main motive (two semiquavers followed by a quaver). In Haydn’s Trumpet Concerto Haydn wanted to explore the wide range of the newly developed keyed trumpet. So he wrote the piece inside the instruments range and capability (2 octaves). While exploring the techniques that the trumpet could produce, he pushed it to allegro semiquaver runs (which lead to double tonguing) and octave jumps.
Dynamics within both pieces rage from ppp-fff. Terraced dynamics are used within each piece. When the solo instrument is playing the main melody, the other instruments accompanying it are marked p-pp. In Aranjuez, it uses crescendos to lead up to the climaxes and to add emotion to the piece. The crescendo is also used to build up to a thicker texture and to f-fff. Whereas in Haydn’s Trumpet Concerto it uses terrace dynamics which were a predominate element in the classical period. It has no use of crescendos and diminuendos.
The timbre or tone colour of Aranjuez reflects the emotion of the miscarriage that Rodrigo’s wife had. It can be described as sad and dark with much emotion. Whereas Haydn’s Trumpet Concerto’s timbre would be described as rich and bright. This is caused by the bright, bouncy melody and articulate instruments. In Aranjuez the tone colour is made by use of vibrato on the longer notes and the key signature of D Minor. Use of emotion though music wasn’t truly developed until the Romantic and Impressionistic Era. Therefore Aranjuez isn’t as classical as Haydn’s Trumpet Concerto.
The use of instrumentation in both pieces contrast with each other. In Haydn’s Trumpet Concerto it greatly uses classical instruments such as Flute, Oboe, Bassoon, French horn, and Trumpet in E, Timpani, 1st and 2nd Violin, viola, cello and/or double bass and the solo Trumpet. The instrumentation in Aranjuez is all brass, as this particular version is for brass band. The brass version uses Soprano, Solo, Repiano, 2nd and 3rd Cornet; Solo Flugelhorn; Solo 1st and 2nd Eb Horn; 1st and 2nd Bb Baritone; 1st, 2nd and bass trombone; Bb Euphonium; Eb and Bb Bass; Timpani and Kit.
Use of metre in each piece is easily identifiable. In Haydn’s Trumpet Concerto the use of metre is simple 2/4. A recognizable metre was an element of the classical period. The same with Aranjuez where the metre of 4/4 doesn’t change throughout the piece. It only changes in speed in pauses, where it goes back to tempo1 after the pause. Easily identifiable meter was an element in Classical music.
The rhythm in Aranjuez can be described as slow, as the tempo is also slow. Adagio is played fairly slow, at around 60 beats per minute. This makes the rhythm quite slow even though there are fast-looking semiquaver runs; they are in fact played as quavers. The rhythm for the solo Flugal part is smooth flowing and evenly phrased, and the rhythms for the accompanying band are minims for the block chords and a syncopated rhythm from the horns. Rhythm in Haydn’s Trumpet Concerto is played faster. The tempo is marked Allegro (120b/p) and therefore makes the note values (semiquavers) fast. The rhythm is fast is quite angular with not as much smooth melody.
In the Classical Period, the melody was the building block in which the piece is based upon. The balance of phrases in each piece is quite regular, an element in the classical period. The contour in Aranjuez is smooth, which adds emotion to the piece. Whereas with Haydn’s Trumpet Concerto the contour is very angular with a more narrow range in each part, also the structure is both triadic and scalic. Triadic in the 12 bar melody, and scalic around the accompaniment (e.g. bars 79, 95,165). The structure in Aranjuez ‘s solo Flugal part is very limited. It also has a limited range and gradually ascends to the top notes with very little jumps. This makes the melody very smooth.
Harmony in Aranjuez is very important as the theme is built on mainly block chords. The first two bars that act as an introduction to the theme are built as block chords on the concert F major chord. This chord builds tension to the theme and makes it more dramatic. The chord structure for the introduction and part of the exposition is:
I I | I I | I I | I I | I iv | I I | iv iv | ii ii |
This is shown though the block chords though the accompanying band. The end chord is chord V. In Haydn’s Trumpet Concerto the harmony isn’t as strong as Aranjuez. And instead of block chords, the harmony in the accompaniment is actually made in sub-dividing the theme into quavers. The use of tonality in both pieces stays the same. Concert F major for Aranjuez and Eb Major for Haydn’s Trumpet Concerto. The only time that the key changes is in Haydn’s Trumpet Concerto Where it goes to F major at bar 142. Therefore the harmony is mainly the same all the way though each piece.
Articulation is a major element in both pieces. When juxtaposed with each other they contrast. In Haydn’s Trumpet Concerto the articulation feels very staccato and accented for most of the piece, this is because the triadic structure makes this so. Unlike Aranjuez where the articulation is more legato. It is phrased well with crescendos and diminuendos to emphasize the phrases. The accompaniment in Aranjuez contrasts with the melody and is very articulate with a syncopated motive.
In conclusion to which is the more classical piece Aranjuez or Haydn’s Trumpet Concerto. It would be Haydn’s Trumpet Concerto as the instrumentation is more classical, the use of sonata form, and the use of articulation, the easily identifiable use of metre, the non-emotional tone colour, and use of terrace dynamics all point to the classical period.
