TubeNet

Hans Nickel recorded it, and quite successfully in my view, with full orchestra, on his CD Cantuballada. That's the only recording I know of that includes an orchestral accompaniment.

I think the work is excellent and deserves more airplay, but Gregson suffers the same fate as many composers for tuba: Neither the Maestro nor the ladies of the Symphony League have ever heard of him. Too bad; the concerto is far more accessible to plain music lovers than most original compositions for tuba, including Gregson's later works. It has the brass fanfare quality in places, with big moments as well as small, plus places where the lyricism of the tuba can really shine. It definitely could not be successfully performed on bassoon.

Rick "but it may be too easy" Denney

I love this piece...just performed it a couple weeks ago (it's on youtube).
I haven't quite found a recording that I like...I have the Dowling and Cooley...the Dowling doesnt really speak to me, and the Cooley, while he is an amazing player, seemed to be missing notes (it was him with the Depaul University Wind Ensemble)
It is an amazing piece, though...going to be performing mvt 2 on my jury

Tuba Guy wrote:I haven't quite found a recording that I like...I have the Dowling and Cooley...the Dowling doesnt really speak to me, and the Cooley, while he is an amazing player, seemed to be missing notes (it was him with the Depaul University Wind Ensemble)

I hear you on those. I think the main issue with the Cooley recording is a bad case of rotary F tuba low register syndrome, but that is just a WAG.
Personally, I think the piece works best on a large Eb or a CC tuba, a small horn does not do the 1st and 3rd movements justice (but may work well for the second.)
The best commercial recording IMHO that captures both the notes and the style of the Gregson is the Fletch recording - no surprise there.
http://www.amazon.com/Concertos-Brass-E ... B000000A7G


Edit - lost out to BVD by 2 minutes! argh

My teacher and I were looking for the Fletcher...couldn't quite find it.
That would explain it, then...I remember really studying the score while listening and hearing "wait...this is Cooley...why does it sound flubby?"
If people promise not to laugh, i can put up my recording...

My favorite recording, (and the one I listened to in preparation for a performance last summer,) is the James Gourlay recording. The whole CD with this piece is great.

http://www.naxos.com/catalogue/item.asp ... e=8.557754

LJV wrote:"This i-is hooooooow, We are going to plaaaaay, Listen to me play - right now!!!"

Exclamatory! With no "clams!" And he takes his time in a stately manner to let his direction sink in, too. No guessing. No "what did he say???" You know what he said.

Ah, well. Take it or leave it. Great piece!

HEROIC

That is the one word I would use to describe the Gregson, especially the first movement.

Almost in the vein of the first Dick Strauss horn concerto (but that is a conversation for another day.)

.

"We've only just begun..."

Rick Denney wrote: Rick "but it may be too easy" Denney

I seem to recall someone on this board (Neptune, I think) saying that he'd performed both the Vaughan Williams and the Gregson with band accompaniment on separate occasions, and saying that he'd found the Gregson to be the more taxing and/or challenging. Can anyone else recall that thread?

Just some food for thought.

MartyNeilan wrote:HEROIC

Dang it! That's exactly the word I've been looking for in both this thread and in the thread of the Vaughan Williams. Brass music really must be heroic--it's the one quality brass instruments bring that can't be brought by other instruments.

Rick "nodding vigorously" Denney

Nick Pierce wrote:

Rick Denney wrote: Rick "but it may be too easy" Denney

I seem to recall someone on this board (Neptune, I think) saying that he'd performed both the Vaughan Williams and the Gregson with band accompaniment on separate occasions, and saying that he'd found the Gregson to be the more taxing and/or challenging.

Let me rephrase: It's too deceptively easy. It fails to impress those who look for blinding technique (both performers and audiences), and it lacks the tortured angst that justifies too much of the modernist genre. Thus, it's hard to sell it to the Maestro, which was the context of my statement.

In terms of difficulty, I can't play either one, but I think I could come closer with the Gregson. It is certainly more fun to hack my way through it in the practice room. But much work on the second movement toasts my chops pretty quickly. It sits above the staff in spots and that takes its toll.

Rick "bowing in deep respect to anyone who could play this cleanly and with a clear, focused sound on a contrabass" Denney

Overall, the Gregson simply captures the essence of the instrument better. It lies better on the horn (hence why folks think it is easier), makes a bit more melodic sense, and sounds better to general audiences.

With all of my naysaying of the YFB-621, that is probably one of the best horns for this piece. If I had the balls I'd dig up the DAT of me playing it and convert it to CD. I'd sell it for a nickle per copy and buy a pencil. The other horn I would think would rock this piece the best is a small CC. Furthermore, I would think that the Conn 2J/3J or Harvey Phillips Holton CC would be THE axe to nail this piece down.

The second movement is more contemporary, hence my earlier reference, and works well with crowds. The piece feels like a Strauss horn concerto in compositional style but with idiomatic writing that works best for the tuba. It's a good piece, but like Rick says, no one knows (in the general sense) who Gregson is, but they know Vaughn-Williams.

Nick Pierce wrote:

Rick Denney wrote: Rick "but it may be too easy" Denney

I seem to recall someone on this board (Neptune, I think) saying that he'd performed both the Vaughan Williams and the Gregson with band accompaniment on separate occasions, and saying that he'd found the Gregson to be the more taxing and/or challenging.

I did indeed say it was more taxing. It is more than 50% longer than the Vaughan Williams and playing straight through in concert I found challenges the stamina near the end of the last movement. More so with orchestra/band than piano, because one needs to project that much more.

I think the Gregson works well on CC, or Eb. Of course it was written for John Fletcher playing a Besson EEb and that kind of sound suits it well.

A horn friend commented that the concerto is excellent at demonstrating the tuba, but personally I do not find as musically satisfying as the Vaughan Williams with its Romanza middle movement.

Jonathan "who would never say the Gregson is too easy!"