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The Bydlo discussion got me to wondering......

Have heard Warren Deck do it on F (spectacular!)

Grew up listening to the Kubelik recording with AJ on tuba.

Have heard one other tubist do it on euphonium.

Have heard (and played) countless performances with someone other than the tubist playing it on euph.

(I have probably played my last Bydlo now that CJ is in the section.)


Eric Carlson

As for Bydlo, I've heard it done well with the tubist on F and a trombonist on euphonium. I've heard it done that way by both the Principal and the Bass Trombone.

I've performed it using both, myself. I did it once on F just to prove to myself that I could do an entire series that way, then the next time we programmed it I used euphonium. I was never asked to give it up, either.

The thing about that solo is that it's so well-known that nobody will remember how wonderful your sound was if you clam.

But I never worried about composer's intentions, too much, either. The composer's intentions were usually that the WHOLE BRASS SECTION play on much smaller, more treble instruments, and I'm not giving up my horns (nor is the bass trombone, or the horns, or the trumpets, or the trombones... )

I like the Gorchakov orchestration better than the Ravel, which sounds too "French" to my ears. No tuba Bylo there.

I've played it on a euph. because that's what was requested. I've heard it on an F and thought it was nice as well. I have to agree with Chuck, though, and say that the Gorkachov(sp?) is really nice. In fact, after hearing NY Phil. play it, it's my favorite. By the way, anybody know of a good recording out there of it?

Ralph

In the situations where I have played it, I didn't really have a choice. The orchestra already decided to hire a euphonium player. No questions asked. In an orchestra, playing under a contract, you do what they tell you to do.

I heard Dave Lewis play this, a couple of years back, on his big B&S or maybe the Willson....don't remember which. It seemed to carry well at Meymandi Hall. It didn't sound effortlessly smooth, but it was big and full.....and to my ear well balanced with the rest of the orch. I remember being impressed that he used the big horn and still "nailed it".

the elephant wrote: Seen it done on euph once and on F six times. The last time that I saw it live was Dallas, and Mr. Good played it on an F.

Correction Wade: I played it on my Alexander 151.

-Matt

The last time I played it, I spent several weeks working it up on my CC. I could "nail" it about 85% of the time. That odd 15% was what made it too much of a gamble for me to play it on the big horn for the gig. It'd been a couple years since I'd played EEb but my former teacher had a sweet one to lend me for the concert. I brought it to the dress and it worked out brilliantly. At the gig, I look up at the audience to see my old teacher (damn him! ) in the front row, first balcony! He drove an hour and a half to see the concert too! Can you imagine the nerves?!?! My teacher, listening to me play on HIS tuba! He told me he loved my sound and tasteful use of vibrato... He didn't mention the split note. He's such a gentleman.

Oh! And I FINALLY have a good F so I'll be performing it on that the next time.

Toobist wrote:He drove an hour and a half to see the concert too!

He probably just wanted to make sure he got his horn back

You're probably right...

Every time I look through my filing cabinet I find a piece or method book with Mark Tetreault's name on it!
Not to mention a mute he leant me back in '02....


Another point on Bydlo (to justify my post):

Regarding the giving-away of the solo to a euph player/trombonist....

I actually had a bass trombonist who fancied the solo for himself. During breaks in the rehearsal where I would take the opportunity to run through the solo he would actively read over my shoulder and even pick up his bass bone and PLAY ALONG!
He asked me, "You should get a euphonium player to play that solo." To which I replied, "You mean MY solo?" A more perceptive person would've gotten the point and ****ed off but the guy didn't let up. Even with the above mentioned split note, there was more music in my interpretation of Bydlo than that shallow, uninteresting and obnoxious player could've put into it with a dozen euphoniums.

I do enjoy the solo played by a talented euphonium player; that's not why I didn't give the solo away. I kept it for two reasons:
1) It was my first time playing Pictures with a pro orchestra and I would never have forgiven myself if I didn't have the stones to do it at least once.
2) The guy was a @@@@@.

the elephant wrote:How long have you had the 151?

I got it back in 1999 back when the $US was doing well against the DM before the use of the Euro. Mine has 4 valves but if I had to do it all over again, I would get a one with five. I may add a fifth valve sometime.

i think about 20 of us should go in and make ourselves a timeshare on an Alexander.How often do you really need one anyway?But when you need it,you really need it..........