The Trumpet: The Soloist That Time Forgot: An Examination of the Solo Writing for the Trumpet in an Orchestral Context and a Solo Setting Between 1860-1950

The introduction of the valved trumpet to the standard orchestra in the nineteenth century suggested that a period of abundance of solo literature would follow, given the new technology incorporated into the trumpet and the extra capabilities these added. Paradoxically however, the trumpet instead suffered a decline in its solo material, an observation made by musicologists such as Herbert, McGrattan, Tarr and Wallace, who all specialise in the history of the trumpet. Whilst the decline and the re-emergence of the trumpet's solo repertoire is well documented, a definitive answer as to the causes has never been established. This is the primary aim of this thesis, to explore the different reasons that may have resulted in the absence of solo literature for the trumpet, taking the 90 year period between 1860 - 1950 into consideration, covering a variety of solo literature from the time that did, or did not establish itself in the solo trumpet's repertoire. The abilities of the valved trumpet will be compared to the natural trumpet's to assess the new options provided to composers, before determining why some composers chose to adopt writing for the valved trumpet. The main activity of the valved trumpet during the studied period is within the orchestra, resulting in a number of exposed and challenging quasi-solo parts within the trumpet's orchestral repertory. To examine this, Tchaikovsky and Mahler will be the subjects of case studies as composers of key excerpts for the instrument. Their style of writing for the trumpet will be looked at to understand why the trumpet featured heavily in their orchestral works, but they did not adapt this into a solo work for the valved trumpet.