tag:blogger.com,1999:blog-6705638937146105675.post6438600414117363096..comments2024-02-25T13:32:36.366+01:00Comments on Michael Lorenz: Six More Unknown Godchildren of Joseph HaydnMichael Lorenzhttp://www.blogger.com/profile/04248014539227254368noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-6705638937146105675.post-81469526814499984272020-07-08T01:37:58.622+02:002020-07-08T01:37:58.622+02:00Dear Dr. Lorenz, Thank you so much for clarifying ...Dear Dr. Lorenz, Thank you so much for clarifying my question. For researching the trumpet concerto's history I have been trying to get to sources beyond Dahlqvist, Steele-Perkins, and Tarr, which is how I ran across the Proksch article and was surprised what a different stance he took. Whenever you do write the article about Weidinger's earlier performances, I would really like to read it and I will look forward to it until then. Thank you for your time and research around Anton Weidinger!Genevievehttps://www.blogger.com/profile/12620982835931913973noreply@blogger.comtag:blogger.com,1999:blog-6705638937146105675.post-91616420314707759602020-07-07T18:00:06.139+02:002020-07-07T18:00:06.139+02:00The explanation for this discrepancy is very simpl...The explanation for this discrepancy is very simple. Bryan Proksch's hypothesis is complete poppycock. Proksch tried to make a name for himself as "trumpet historian" and he decided that the best way to do this is to unmercifully "reevaluate" the relationship between Haydn and Weidinger. This reevaluation was based on absolutely nothing, since Proksch, in his whole life, has never entered a Viennese archive. In 2015 Proksch got blindsided by the above article which completely debunked his splendid hypothesis. But instead of admitting his mistake and revoking his hypothesis, in his paper "Refining the Narrative of Anton Weidinger’s Prototype Keyed Trumpet", which in September 2015 he presented at the "Bridging the Gaps" conference in Vienna, he doubled down on his hogwash, even using my research to support his flawed ideas. I was present at this conference and after his talk I grabbed the microphone and massively protested against the reckless abuse of my research. Of course, Haydn didn't "compose a work for an idealized chromatic trumpet". There's nothing curious about the delay between Haydn’s composition and its 1800 premiere, because we simply have no documentation concerning the delay or any other possible unknown earlier performance of the concerto before 1800. It was very difficult back then to get a concert date at the Burgtheater. The claim that Haydn wrote a concert for an instrument "that didn't exist yet", is utterly bizarre. Weidinger's early appearances in public concerts in Vienna is actually one of the projected topics of one of the upcoming posts on this blog. But I simply have too much work to do to finish all my planned projects.Michael Lorenzhttps://www.blogger.com/profile/04248014539227254368noreply@blogger.comtag:blogger.com,1999:blog-6705638937146105675.post-24249302463926345782020-07-06T19:49:23.721+02:002020-07-06T19:49:23.721+02:00Thank you, Dr. Lorenz, for this valuable archival ...Thank you, Dr. Lorenz, for this valuable archival research. This is the first time I have read that Weidinger had a son he performed with and also the first evidence that Haydn was the godfather to Weidinger's children, which offers a much-needed insight into the type of personal connection Haydn and Anton Weidinger had. I am wondering, given your research, do you have an opinion on how close Haydn and Weidinger were before 1796, when Haydn wrote the trumpet concerto? I recently read a 2014 article by Bryan Proksch in the Historical Brass Society journal that suggests Haydn and Weidinger were not friends at all but more like acquaintances. This could mean that Haydn had less of a working knowledge around Weidinger's keyed trumpet than most histories have said, which also could explain the gap between its composition and performance. From your research, have you found anything that would suggest that Haydn and Weidinger ran in the same circles to the point that Haydn wrote the concerto for a finished keyed trumpet?Genevievehttps://www.blogger.com/profile/12620982835931913973noreply@blogger.com