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I'd have to say the same. When I was a junior at SUNY Fredonia, we performed it with the Pittsburgh Sym. One performance was at the school. Then, we were bused to Pitt. to perform it in Heinz Hall. That second performance in Pitt. was one the most memorable performances of my life. The hotel partying wasn't too shabby either, as I recall.

Congrats on getting to perform this tune! For me, a live (and fantastic) performance of this piece with the full instrumentation was the first time I was truly and thoroughy moved emotionally by a piece. I always enjoyed and had been excited by music - live or not, but this was different. It was the Kitchener-Waterloo Symphony with a great many additional players in their wonderful hall and I was nearly overcome by the sheer wall of sound and genius writing and orchestration (although I had no idea what those concepts really were back in high school). I remember wondering what it must be like on that stage... or balcony in a few cases, and deciding with no reservation that I wanted to be a musician.

Thanks for reminding me of that with your post Bloke.

It is a great piece and fabulous experience. I was also one of the hired extras on the Baltimore Symphony performance back in the summer of 1977. For financcial purposes, the piece was done with half forces (only three tubas, supplemented with the high school gentleman in my brass choir, that posted earlier) and it was still powerfully moving.

Though it does not show up regularly, the passage from the Offeratorium and the soli in the Sanctus does occassionaly show up on auditions. When playing the Sanctus under the audition microscope, it helps to look at the score and see the lyrics. Breathe where the singers do after "Hosannah in excelsis". You will find that it is not where you would normally breathe if you do not know the words and sing them in your head while playing. Small things like this will set your performance apart from others.

I got to do the Mahler Resurrection Symphony once, which I think is similar in scale and scope. I'm not sure about the Berlioz but the Mahler clocks in at 95 minutes or so. Getting to do these kind of pieces is a real treat and they should be savored.

I was fortunate to be able to do the Berlioz under Robert Shaw with the ASO and Chorus while I was a college freshman in spring 1970. The ASO chorus needed some extra male voices, and they asked the Georgia Tech Glee Club to participate.

Most of the extra brass players were recruited from Georgia State University, who had a tremendous brass program at the time. I watched the three tuba players enviously from the chorus.

It was the greatest musical experience of my life. Also the loudest, particularly in the second half of the Tuba Mirum part of the Dies Irae. But in spite of all the bombast that the piece is famous for, the complete orchestra is only used twice, and there are many sections that are quiet and utterly gorgeous. It's an innovative piece in many ways, and it's a shame that the sheer size of the forces assembled gets so much attention.

I haven't played the Requiem but I have played in the Symphonie Funèbre et Triomphale and it was also an amazing experience. Oxford Town Hall (UK) - Oxford University Wind Orchestra plus strings from the Oxford University Orchestra plus a bunch of extras plus just about every choir in the university and surrounding area. All kinds of stuff from the museums for the extra percussion, bells etc. etc. Best of all it was conducted by the world's foremost Berlioz expert Hugh Macdonald who was a University Lecturer at Oxford back then (about 1975). I was also fortunate enough to play 2nd Opheicleide sitting beside Hugh M playing 1st in the Symphonie Fantastique on another occasion around the same year. Opheicleides were loaned to us by the Bate collection and were devilishly hard to play.

Berlioz seems to provide many unforgettable memories!!

I was privileged to participate, as a member of the Grant Park Symphony Chorus, in a performance of the Berlioz Requiem conducted by Robert Shaw in 1986. The previous summer, Mr. Shaw conducted us in the Brahms German Requiem. The GPSO's brass section was particularly gifted during that period.

The orchestral rehearsal of the Brahms was a magical moment. I have never witnessed a rehearsal where all the participants were as attentive and responsive as occurred that Friday afternoon. There was not single moment of extraneous chatter or movement from anyone on stage.

For the Berlioz performance the next summer, brass chois were staged on either side and in the rear of the main audience seating area at the Petrillo Music Shell. I think just about every tubist in Chicago was employed that weekend.

Randy,

I remember you at that 1977 concert! You had a Cerveny, right?

That was me. Ed Goldstein and I had matching Cerveny tubas. Dan Brown was playing his Holton. That was many tubas ago for me. I don't know where that Cerveny tuba is now?