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Just got back from aan Atlanta Symphony Orchestra concert, the first I've been to in over a year I'm sorry to admit. They programmed Russian Easter and Pioctures on the same night so how could I not show up. Great overall concert. I don't know how a town like Atlanta which is not know for the arts wound up with a first rate orchestra, but we have one. The low brass was awesome. George Curran, the new bass trombonist is a beast. What a sound. You get the feeling that he could dominate not only the section but the whole orchestra if he wanted to. Huge sound. I only heard Kleinhammer twice but this guy is right there. The preistly trombone section opening lick of the RK was as good as I have ever heard it played. Rich, full and they nailed every pitch. I enjoyed Stephen Wilson's solo as I heard tonight that he is probably on his way out. Auditions for his old spot are tomorrow. Michael Moore did an admirable job with the Bydlo solo. He played it on what I think is his old Eb. He bought a new Rudy F for that a few years back but this was his top action Eb I believe. I had tears in my eyes during the great gate. Thats a first. I must be getting older or something.

Last week, I heard the ASO Brass Quintet in master classes and in concert at Berry College. They were excellent, one of the tightest groups of any size or type that I've ever heard. Mr. Moore was, of course, excellent, as were the horn and trombonist.

I was most surprised by the trumpets. They're both relatively young. The first trumpet said that he has been with the orchestra for a year and a half following a four-year stint with the Marine Band. The second trumpet has been there a few years more. In most orchestras, it seems to me that the principal trumpet is expected to have a different sound from the rest of the section. These two made a big point of how they have worked together to make their sounds match, making sure that their tones are similar and that they articulate and intonate the same way. They played a duet in the master class that had a large amount of part trading, echoing, harmony, and occasional unisons. It was almost impossible to tell them apart by sound. Everyone I talked to afterward raved about the closeness and tightness of their playing and the lack of ego that the two displayed.

These guys are remarkable. I'm definitely going to pay more attention to the orchestra and the quintet to see how they progress in the future.

My wife and I were at the ASO concert last night, up in the upper balcony right before the railing with a birds-eye view of the whole orchestra. With Russian Easter Overture and Pictures at an Exhibition on the program, it was a real treat to listen to [especially for a tuba player]. Michael Moore sounded great, really enjoyed his tone quality on the high e and g# (if I remember the excerpt correctly) in Bydlo.
Agreed, the whole orchestra is fantastic - Laura Ardan is a wonderful clarinetist, but the strings are great too. I enjoyed the way the ASO balanced and blended most of all.

BTW- What model is Michael playing for his big CC? Looked like a silver Holton 345 . . .

Bravo!

I went to school with George Curran, I was a freshman then @CMU, and playing next to him in orchestra really blew me away. I think he started out at the University of Michigan on euphonium, but then switched to bass bone and transferred to Central Michigan. I'm glad he go the spot, what a monster player!

tuben wrote:

jonesbrass wrote: BTW- What model is Michael playing for his big CC? Looked like a silver Holton 345 . . .

Correct.... Four valve factory CC.

RC

Neat. I thought it was a four-banger, not five. The little Eb Besson he was using last night sounded great, too. What a nice high range.

tuben wrote:

jonesbrass wrote:The little Eb Besson he was using last night sounded great, too. What a nice high range.

Wasn't satin silver with a small bell was it?

RC

No, it was raw brass. I thought is was the Conn Eb he played with me in a rehearsal a few years back but it did have a smaller bell and a larger bell throat than I was expecting. He probably has at least one Besson. Last time I asked him he had a house full of horns. Whatever it was, it was a really nice Bydlo horn last night. Wonder if he needs a G bass trombone?

tbn.al wrote: I enjoyed Stephen Wilson's solo as I heard tonight that he is probably on his way out. Auditions for his old spot are tomorrow.

Auditions did start today,
Stephen is moving up to assistant and they are auditioning for 2nd (+ utility)

Bill

I believe he has a Schilke F tuba. I do believe I've heard him say something like it was good for Bydlo and that's about it (or something like that). Maybe that was it.

I believe it was a small Besson-type 3+1 Eb, unless it was a Barlow-style F. Unlacquered and with a smaller bell than the Soverign models.

Whatever it was, Michael sounded great. I'm pretty sure he could install a mouthpiece on a trash can or spitoon and sound great.

grahamfw wrote:I think that the tuba Mr. Moore uses is a Schilke E-flat prototype that played SO sharp, he had someone cut it to be an E tuba (you read that right!) and he uses it only for Bydlo.

Someone feel free to correct me, but I distinctly remember asking him this during my studies. I thought it was hilarious too!

And here I've been making jokes about bassoonists carrying around a suitcase full of bocals...