Divertimento in D
Joseph Fiala (1748-1816)

Joseph Fiala was born around 1748 in Lochovice in West Bohemia. He was well regarded as a player of the viola da gamba, the cello and the oboe. In terms of composition, Fiala wrote concertos for oboe, cor anglais and a double horn concerto as well as string quartets, duos for violin and cello and several works for wind ensemble. Fiala lived during the classical period- a period best known for the compositions of Joseph Haydn and Wolfgang Amadeus Mozart, though many trumpet players are acquainted with the Hummel Trumpet Concerto. Indeed Fiala’s life has many similarities to Haydn’s- where Haydn became (assistant) Kappelmeister to the Esterhazy family in 1761 (full in 1766), Fiala became Kappelmeister to Prince Fürstenberg in 1792. Fiala also has a connection with Wolfgang Amadeus Mozart, they met during Fiala’s time in Munich, where he had joined the musical establishment of the Elector of Bavaria. Mozart is believed to have been impressed by Fiala’s compositions so much that he praised them in a letter to his father, Leopold Mozart, also a composer of some renown. Further evidence of the connection between Joseph Fiala and Mozart is evident in the way in which Fiala’s name is mentioned in Mozart’s comedy: “Der Salzburger Lump in Wien”

Fiala’s Divertimento in D is particularly significant due to the fact that it was originally written for a keyed trumpet. Anton Weidinger (1766-1852) is credited with the development of the most prominent of these, however the earliest were developed around 1770. At a time when Enlightenment ideals were sweeping through Europe, the remnants of a past era were being blown aside and it became necessary for the trumpet to evolve or effectively become extinct. Thus Weidinger developed a keyed trumpet, which he called an “organized trumpet” due to the fact that it was able to play chromatically in the whole of the register. Previous trumpets had been built to only play notes in the harmonic series. Whilst it was still closer to the natural trumpets of the Baroque times than to the valved trumpets we see today, it marked a breakthrough, even during its short period of prominence.

The nature of Fiala’s travel and the fact that it was written for a keyed trumpet originally, make this piece somewhat awkward to precisely date. The keyed trumpet only enjoyed a brief period at the forefront of music making, during the early 19 th century, before being brushed aside and thus it is perfectly possible that the piece may date from that time. The other main contender is the period between 1780-1790, co-inciding with Fiala’s time in Vienna (around Weidinger) and the fact that natural trumpets may well have been known to Fiala at this stage as the first date from 1770. The title “Divertimento” was also going out of fashion by the time of the 19 th century, whereas it would have been more appropriate during the 1780-90 period.

The work itself is reminiscent of the Haydn and Hummel Trumpet Concertos, both of which were written to showcase a newly developed instrument. Similarly to the Hummel, the piece opens with a bold announcement, in unison with all the other parts in octaves. This explosive start then moves into a lyrical first movement, showcasing the new notes made playable on the new instrument. An extended cadanza to show off the abilities of the player and the instrument finishes the movement. The second movement is quicker, somewhat light hearted, but again, technically challenging. The idea of a tutti section, demonstrating the power of the instrument is present as well in the second movement as well as a shorter, less decorative cadenza. The use of chromatic movement is a key theme throughout the piece, as well as the idea of balanced phrasing- typical again of the classical period.

© Stephen Wright