Definitions of the trumpet, although disagreeing in certain details, generally concur in a fundamental precept: that the tube of the trumpet is cylindrical for the greater part of its length while flaring into a bell at its end. This study outlines the history of the slide trumpet in England.

The process of the organization of the orchestra began with the rise of opera; considered on a broad scale this process divides itself into two periods, the first terminated by the deaths of Bach and Handel (1600-1759) and the second beginning with the complete change of orchestral sound evident in the symphonies of Haydn and Mozart during the second half of the eighteenth century. It is the first of these two periods that witnessed the composers of art music exploiting the natural trumpet, an instrument long associated with court, camp, and field, to the extent that they developed a vast repertoire of trumpet music characterized by its virtuosic technical requirements.

The need for a valve mechanism of some type was first felt by French horn players, and after the horn's valve system had somewhat proved itself to composers as well as instrumentalists, it was adapted for the other brass instruments.

During the first half of the twentieth century the trumpet has gained its position as a solo instrument, even surpassing its esteemed position in the High Baroque Era. With the combined efforts of performers like Herbert L. Clark, Ernest S. Williams, and Joseph Arban, and the efforts of the French school of trumpet playing, notably those of Raymond Sabarich, the trumpet has risen from a mere accompanying instrument of the Classical Period and early Romantic Era to its present place as an expressive solo instrument. In this relatively new position the trumpeter is faced with one serious problem: that is one of limited literature. The trumpeter of today is almost compelled to perform either works of the Baroque Era or solos written within the last thirty years.

The Haydn Trumpet Concerto and the Hummel Trumpet Concerto are two of the most important concertos in the solo trumpet repertoire and the cadenza reflects the performer's personality and technical abilities. There have been numerous recordings of the two concertos and they are consistently used in performance and as a pedagogical tool. This document contains both published cadenzas and transcriptions of recorded cadenzas from the first and last movements of the Haydn Trumpet Concerto and the Hummel Trumpet Concerto.This study begins with an investigation of the concepts and historical information related to the keyed trumpet and classical cadenzas. It includes a discussion of the historical significance of the keyed trumpet, brief biographies of Anton Weidinger, Joseph Haydn and Johann Hummel, and a study of the stylistic traits of cadenzas of other brass instruments from the classical period.Following the introductory five chapters, chapter six contains the compilation of transcribed and published cadenzas. The cadenzas are cross-referenced in a table located at the beginning of the chapter. Each cadenza includes information about the recording and/or publisher from whom the cadenza is available. The cadenzas were transcribed from recordings, transposed for Trumpet in E-flat and entered into Finale 98.This study is meant to be a reference tool that performers and instructors can employ for the study and performance of various cadenzas. The writer hopes that this collection will provide inspiration and will serve as a guide for those who wish to compose a personal cadenza that highlights their own strengths and preferences. / School of Music

The lecture was given on March 3, 1974. The discussion of the Bolognese trumpet works consisted of an exploration of the local agencies that nurtured the compositional activity centered around San Petronio, biographical details of the principal composers, and stylistic and formal analyses of the works that were performed. Selections were performed from the early, middle, and late segments of the period, represented by the composers Maurizio Cazzati, Petronio Franceschini, and Giuseppe Torelli. In addition to the lecture recital three other public recitals were given. Two of these consisted primarily of solo literature for the trumpet, and the third featured chamber music with trumpet. The first solo recital was presented on July 31, 1972, and included works of Tommaso Albinoni, G. Ph. Telemann, Thérèse Brenet, and Wayne Bohrnstedt. The second solo recital, on July 22, 1974, featured French music of this century. Compositions by Ravel, Fauré,Varèse, Henri Tomasi, Pierre-Max Dubois, Benno Ammann, and Théo Charlier were presented. The chamber music recital displayed the trumpet in combination with other solo instruments and voice, together with varied accompaniments. A group of three arias for soprano and trumpet--by Purcell, Handel, and Bach--and a suite of arias for oboe and trumpet by Telemann were representative of the 18th century. These works were performed with an accompaniment of strings and basso continuo. Works from the 20th century included the combination of trumpet, clarinet, and xylophone, with percussion accompaniment, in a piece by Carlos Surinach and trumpet with pre-recorded tape in a work by David Cope. The program was presented on February 26, 1973. All of the recitals were recorded on magnetic tape and are filed, along with the written version of the lecture material, as a part of the dissertation.

The lecture was given on April 21, 1980. The problem with which this investigation is concerned is that of gathering information on the composer Johann Hummel, the performer Anton Weidinger, the keyed trumpet, for which the concerto was written, the concerto itself, and its ornaments, and in determining the correct performance practices of the ornaments. Sources written in the middle to late eighteenth century and from the first third of the nineteenth century gave valuable insight into the facts and attitudes concerning the composer, the performer, the instrument, and the concerto in question. Other information came from present day authorities writing in texts, periodicals, and reference works.