Haydn, Hummel, and Neruda: A Performer's Guide to the Classical Trumpet Concerto Trilogy

If you play trumpet seriously, you will learn these three concertos. The Haydn Trumpet Concerto in E-flat, the Hummel Trumpet Concerto in E (often performed in E-flat), and the Neruda Trumpet Concerto in E-flat form the holy trinity of classical trumpet solo repertoire. They appear on conservatory juries, competition requirements, and orchestral audition lists worldwide.

Haydn: Trumpet Concerto in E-flat Major (1796)

Written for Anton Weidinger's revolutionary keyed trumpet, this concerto was the first to exploit the instrument's newly available chromaticism. Haydn treats the trumpet as a singing voice — the second movement Andante is one of the most beautiful slow melodies in the entire brass repertoire.

Key challenges: The first movement demands clean, classical-style articulation and absolutely precise intonation in exposed passages. The second movement requires a vocal approach to phrasing with impeccable dynamic control. The third movement's rondo theme must sparkle with wit and lightness.

Hummel: Trumpet Concerto in E Major (1803)

More technically demanding than the Haydn, Hummel's concerto is pure early Romantic virtuosity. The first movement features rapid scalar passages, wide leaps, and a cadenza that tests every aspect of technique. Most performers today play it transposed to E-flat for better intonation on modern instruments.

Key challenges: The fast passages in the first and third movements require exceptional finger-tongue coordination. The slow movement, while less technically demanding, requires mature musicality and a beautiful, sustained tone throughout its lyrical phrases.

Neruda: Trumpet Concerto in E-flat Major (c. 1750s)

Originally written for corno da caccia, this concerto has been adopted by trumpeters for its elegant Baroque-Classical style. It is often the first concerto students learn and appears frequently on undergraduate recitals.

Key challenges: Clean, stylistic Baroque articulation; ornamental trills and turns executed with clarity; maintaining musical interest in what can seem like simpler writing compared to Haydn and Hummel.

Preparing All Three

When preparing these works for audition or recital, practice them in rotation rather than focusing exclusively on one. Each develops different musical muscles — Neruda's classical clarity, Haydn's lyrical singing, Hummel's technical brilliance. Together, they make you a more complete musician.