"Let's choose a low temperature and wash two dirty socks"... I had the pleasure of taking part in a masterclass with Maurice in the Barbican Hall when I was a student and leading a brass ensemble with him further down the line. Magic!
One of the best trumpeters this country has produced. Met him couple of times such a nice bloke. I remember one concert with LSO and Arturo Sandoval at the Barbican with Maurice and Arturo playing the Vivaldi.
@@phillipecook3227 they were actually good friends.. Maurice always went to see Arturo at Ronnie Scott’s… I remember asking Maurice about Arturo and he said ‘Arturo’s a hooligan’ 😁 Great concert that. Arturo played the Vivaldi and the Arutunian in the first half then Jazz in the second half.
@@bd1845 Interesting. I didn't knew AS played " straight" trumpet. I'll tell you a story. In 1985 I visited Cuba for 3 weeks. In those days British tourism to Cuba was almost non existent - there were only 2 tour companies in the entire UK authorised to take British visitors into the country - I booked with one of them about 7 months in advance. Less than a week before I was due to leave I had a phone call telling me they were going bust but I could keep my already paid for flight tickets and valid Cuban entry visa if I wanted. Not having a choice I ended up as a solo traveller with no guides or accommodation in the country. I was on my own. It turned out to be a wonderful holiday. In Havana I met a group of local lads around my own age ( early 20s) who looked after me, showed me the sites etc. I was ieven nvited to their homes a few times. I was at their home once and there was a small black and white TV on in the background which no one was really listening to or watching. My attention kept being drawn to the TV because I could hear a trumpet player with an astonishing incredibly high range leading what sounded like a locally flavoured jazz combo. I asked one of my new friends if they knew the name of the artist. It was the first time I'd heard the name of Arturo Sandoval.
A lot of people don't know this, but he was the guy who recorded the original John Williams soundtrack to Star Wars. He was knighted by the Queen as well, I think. Maybe the best trumpet player that you never heard of.
Maurice Murphy wasn't knighted (maybe he should have been). Many people have heard of him though. He was LSO Principal trumpet for many years and also recorded solo CDs.
A great player. There is something interesting about the Haydn Concerto that some perhaps don't notice. During the orchestral introduction, there is a point scored for the solo trumpet to play a single note, and then shortly after two "calls". Many choose not to play this (a trumpet in the orchestra playing those instead) and some do play it. I can only speculate, but I think it was part of Haydn''s way of introducing the audience to a trumpet that could play all the notes. This was the first piece, as far as I know, written for a keyed trumpet and was written for a friend of Haydn's. Until then, the trumpet wasn't considered a "solo" instrument because of the natural trumpet's limitation to the number of notes that could be played. I think the "calls" (sort of like a hunting call) were to give the audience the sort of thing they were accustomed to from natural trumpets. Calls and flourishes and such. Then when the main solo line starts, Haydn quickly gets to an ascending run in the scale, and shortly after a descending chromatic run. People hearing this for the first time would have never heard such a thing from a trumpet. I'm guessing that Haydn deliberate introduced this new type of trumpet step by step like this.
Yes, imagine the surprise when the second note of the theme (concert F on the first space) was sounded. Most people had never heard a trumpet play Do-Re-Mi in that octave. Apparently, however, the first performance didn't exactly create a sensation. The weather was bad and the featured soprano was ill and had canceled, so the concert was not well attended. Nevertheless the work, along with the Hummel Concerto seven years later, has served to give subsequent generations of trumpet players the opportunity to experience the classical era style as a soloist. Without Herr Weidinger, the classical era would be a large vacuum with regard to trumpet literature.
For me the remarkable thing also was that Haydn wasn't young when he wrote this: he was 64 years old, celebrated, fully mature and had spent an adult lifetime used to orchestral scoring within the prevailing limitations of his time including of course natural " crooked " trumpets. In this context he could've been forgiven for say, paying only lip service ( pun not intended) to Herr Weidinger's hard work by for example simply modifying or writing more extended chromatic passages for him (only) to play within his orchestral works ( or passing over it completely) Instead he was sufficiently enthralled to sit down and write a full concerto from scratch, presumably fully collaborating and consulting with AW in the process. I understand the work is so mature it was in fact the last orchestral work Haydn wrote. You would think even in the pre internet age word would've got round and the audience at the premier would've been packed with brass players keen to hear what the great Haydn was going to make of this marvellous new invention but history hasn't recorded it one way or the other. The fact it took another 7 years before Hummel wrote his concerto hints that the significance of Aw's invention wasn't understood at the time despite Haydn's enthusiasm.
@@phillipecook3227 Reportedly, by respected musicologists, the premiere of the Haydn was less than Earth-shaking. The soprano who was to be the main attraction of the concert was ill and canceled. The weather was bad, and there was a small audience. It is interesting to me that he used the "new" concert F on the 3rd beat over the dominant chord and proceeded to make the first movement "on the 3rd beat" in most of the passages. I have always felt that in the opening three-note motive, the F should be slightly emphasized with a decrescendo into the G. (concert pitches) Very few trumpet players do that. The 16th note runs in the Haydn are all diatonic, whereas the Hummel has some fast chromatic passages. That suggests that either the newer instrument was improved or Weidinger had developed more skill, probably both. Classical period of trumpet solo literature, from the demise of the baroque-style, high, tonic-scale solos to the late 19th century valved cornet solos, would have been completely barren for us today without Weidinger!
Don’t ever underestimate how good THAT practice is. It forces you to hyper-focus for a definite amount of time and then forces you to rest and reset your focus.
Excellent technique and sound, classical musicians are very disciplined... Honestly as an ex professional trumpet player I never played classical music, it's so beautiful to listen to.
MM. Possibly the greatest and most naturally gifted British orchestral trumpeter of the last 75 years ( tho on reflection Alan Stringer might have had something to say about that). Somewhere out there is a commercial recording of the LSO conducted by Vilem Tausky wiih MM playing the final movement of the Hummel concerto ... please. I would love to have heard him live during his tenure as solo cornet of Black Dyke.
I have that on Tape and it it available on CD I think it’s called 100 great pieces or something. There is also a recording and it’s on UA-cam of Maurice playing the last movement of Brandenburg 2
It always puzzles me that the Haydn is (was?) always part of Grade 8 for Bb trumpet and ARCM exam, yet it was written for, and played on an Eb by all the soloists! In other words, pro trumpet soloists have an easier time than students!
"Let's choose a low temperature and wash two dirty socks"...
I had the pleasure of taking part in a masterclass with Maurice in the Barbican Hall when I was a student and leading a brass ensemble with him further down the line. Magic!
Tell me more! Email jfsmusicbox@gmail.com
A great player, a lovely man, and always a joy to work with.
One of the best trumpeters this country has produced. Met him couple of times such a nice bloke. I remember one concert with LSO and Arturo Sandoval at the Barbican with Maurice and Arturo playing the Vivaldi.
MM and Arturo Sandoval ? Now there's 2 names I didn't expect to see in the same sentence!
@@phillipecook3227 they were actually good friends.. Maurice always went to see Arturo at Ronnie Scott’s… I remember asking Maurice about Arturo and he said ‘Arturo’s a hooligan’ 😁 Great concert that. Arturo played the Vivaldi and the Arutunian in the first half then Jazz in the second half.
@@bd1845 Interesting. I didn't knew AS played " straight" trumpet. I'll tell you a story. In 1985 I visited Cuba for 3 weeks. In those days British tourism to Cuba was almost non existent - there were only 2 tour companies in the entire UK authorised to take British visitors into the country - I booked with one of them about 7 months in advance. Less than a week before I was due to leave I had a phone call telling me they were going bust but I could keep my already paid for flight tickets and valid Cuban entry visa if I wanted. Not having a choice I ended up as a solo traveller with no guides or accommodation in the country. I was on my own. It turned out to be a wonderful holiday. In Havana I met a group of local lads around my own age ( early 20s) who looked after me, showed me the sites etc. I was ieven nvited to their homes a few times. I was at their home once and there was a small black and white TV on in the background which no one was really listening to or watching. My attention kept being drawn to the TV because I could hear a trumpet player with an astonishing incredibly high range leading what sounded like a locally flavoured jazz combo. I asked one of my new friends if they knew the name of the artist. It was the first time I'd heard the name of Arturo Sandoval.
A lot of people don't know this, but he was the guy who recorded the original John Williams soundtrack to Star Wars. He was knighted by the Queen as well, I think. Maybe the best trumpet player that you never heard of.
Huh, interesting. His sound is definitely part of my sound concept.
Ha, and I just noticed that in this video, he's watching Superman on the television! 0:54
Yes Star Wars, Indiana Jones the LSO with Maurice did a lot of John Williams’ Soundtracks
@@billpeet1976 lol good spot
Maurice Murphy wasn't knighted (maybe he should have been). Many people have heard of him though. He was LSO Principal trumpet for many years and also recorded solo CDs.
What a gem of a video, I remember when this was on TV. A fascinating insight into a most humble trumpet playing genius.
A great player. There is something interesting about the Haydn Concerto that some perhaps don't notice. During the orchestral introduction, there is a point scored for the solo trumpet to play a single note, and then shortly after two "calls". Many choose not to play this (a trumpet in the orchestra playing those instead) and some do play it. I can only speculate, but I think it was part of Haydn''s way of introducing the audience to a trumpet that could play all the notes. This was the first piece, as far as I know, written for a keyed trumpet and was written for a friend of Haydn's. Until then, the trumpet wasn't considered a "solo" instrument because of the natural trumpet's limitation to the number of notes that could be played. I think the "calls" (sort of like a hunting call) were to give the audience the sort of thing they were accustomed to from natural trumpets. Calls and flourishes and such. Then when the main solo line starts, Haydn quickly gets to an ascending run in the scale, and shortly after a descending chromatic run. People hearing this for the first time would have never heard such a thing from a trumpet. I'm guessing that Haydn deliberate introduced this new type of trumpet step by step like this.
Yes, imagine the surprise when the second note of the theme (concert F on the first space) was sounded. Most people had never heard a trumpet play Do-Re-Mi in that octave.
Apparently, however, the first performance didn't exactly create a sensation. The weather was bad and the featured soprano was ill and had canceled, so the concert was not well attended. Nevertheless the work, along with the Hummel Concerto seven years later, has served to give subsequent generations of trumpet players the opportunity to experience the classical era style as a soloist. Without Herr Weidinger, the classical era would be a large vacuum with regard to trumpet literature.
@@albertmoore4445Very true. And trumpeters would've forever been saying " what if ". Now try to imagine if Mozart had written one ....
For me the remarkable thing also was that Haydn wasn't young when he wrote this: he was 64 years old, celebrated, fully mature and had spent an adult lifetime used to orchestral scoring within the prevailing limitations of his time including of course natural " crooked " trumpets. In this context he could've been forgiven for say, paying only lip service ( pun not intended) to Herr Weidinger's hard work by for example simply modifying or writing more extended chromatic passages for him (only) to play within his orchestral works ( or passing over it completely) Instead he was sufficiently enthralled to sit down and write a full concerto from scratch, presumably fully collaborating and consulting with AW in the process. I understand the work is so mature it was in fact the last orchestral work Haydn wrote. You would think even in the pre internet age word would've got round and the audience at the premier would've been packed with brass players keen to hear what the great Haydn was going to make of this marvellous new invention but history hasn't recorded it one way or the other. The fact it took another 7 years before Hummel wrote his concerto hints that the significance of Aw's invention wasn't understood at the time despite Haydn's enthusiasm.
@@phillipecook3227 Reportedly, by respected musicologists, the premiere of the Haydn was less than Earth-shaking. The soprano who was to be the main attraction of the concert was ill and canceled. The weather was bad, and there was a small audience. It is interesting to me that he used the "new" concert F on the 3rd beat over the dominant chord and proceeded to make the first movement "on the 3rd beat" in most of the passages. I have always felt that in the opening three-note motive, the F should be slightly emphasized with a decrescendo into the G. (concert pitches)
Very few trumpet players do that.
The 16th note runs in the Haydn are all diatonic, whereas the Hummel has some fast chromatic passages. That suggests that either the newer instrument was improved or Weidinger had developed more skill, probably both. Classical period of trumpet solo literature, from the demise of the baroque-style, high, tonic-scale solos to the late 19th century valved cornet solos, would have been completely barren for us today without Weidinger!
@@phillipecook3227 There is a rumour that Mozart did write a Trumpet concerto and it’s catalogued but lost.. just have to make do with his Dad’s one!
Incredible humble musician total genius
him playing during the commercials was like a skit ahahahah. thank you for the video!
Don’t ever underestimate how good THAT practice is. It forces you to hyper-focus for a definite amount of time and then forces you to rest and reset your focus.
Amazing footage thanks SO much!
Excellent technique and sound, classical musicians are very disciplined... Honestly as an ex professional trumpet player I never played classical music, it's so beautiful to listen to.
Such a spectacular musician. Complete musical commitment to every note and phrase.
70’s maybe? Fun to watch. Thank you!
1985 I believe
MM. Possibly the greatest and most naturally gifted British orchestral trumpeter of the last 75 years ( tho on reflection Alan Stringer might have had something to say about that). Somewhere out there is a commercial recording of the LSO conducted by Vilem Tausky wiih MM playing the final movement of the Hummel concerto ... please. I would love to have heard him live during his tenure as solo cornet of Black Dyke.
I have that on Tape and it it available on CD I think it’s called 100 great pieces or something.
There is also a recording and it’s on UA-cam of Maurice playing the last movement of Brandenburg 2
I have never seen him close up and at a fairly youthful age. Very nice.
Awesome playing! Such a sad end to Maurice's life with the mistake by a terrible junior doctor.
My sister from Australia is married to Maurice’s son Martin. We were so looking forward to meeting him.
I almost hate to ask. But could you let us know what the medical mistake was? So tragic.
From what I hear… a feeding tube that mistakenly was put in the lungs
It always puzzles me that the Haydn is (was?) always part of Grade 8 for Bb trumpet and ARCM exam, yet it was written for, and played on an Eb by all the soloists! In other words, pro trumpet soloists have an easier time than students!
What programme was this shown on originally?
Any guesses on the type of Eb trumpet he’s using here?
Best I can guess is a Bossey and Hawkes.
@@thebrasspedagogue Interesting, I think I forgot they made trumpets once upon a time.
Yes or Besson that belonged to B&H.. made a lot of the instruments for brass bands too.
Play corn speks at sthore
HayDEN??😳
It’s been corrected
Elbows on knees?
Be consistent with posture
posture is over rated
I’m sure he would have been grateful for your advice.
Lol, yes maestro.
Reading notes is fine ...but there is no original ideas, always the same .