TubeNet

Easy-Prokofiev 5- Bernstein...
Mark

I rather enjoy the Gershwin American in Paris and Rhapsody in Blue with Bernstein.

hbcrandy wrote:I rather enjoy the Gershwin American in Paris and Rhapsody in Blue with Bernstein.

+1
Mark

My favorite is one I heard them do on YouTube. Tchaikowski 6. Impeccable. Ed

Copland 3 and Mahler 6 with Bernstein.

He absolutely nailed Sensemaya.

jeopardymaster wrote:He absolutely nailed Sensemaya.

+1

hbcrandy wrote:

jeopardymaster wrote:He absolutely nailed Sensemaya.

+1

Double +1--but he nailed EVERYTHING!
Mark

Sensemaya and Prokofiev 5 with Bernstein. I believe the L.P. version of the Prokofiev is better than the CD that compresses the sound. A wonderful player and class act as a person.

Tusabtuba

OK, several have talked about Sensemaya, but I don't get it. I'm just not crazy about those burbled note attacks....maybe it was done on purpose....maybe not

I don't really have a particular favorite Novotny recording, but the Tchaik Symphonies 1-6 are pretty great. As is the 1812 Overture He absolutely nailed those parts.

tooba wrote:OK, several have talked about Sensemaya, but I don't get it. I'm just not crazy about those burbled note attacks....maybe it was done on purpose....maybe not

I don't really have a particular favorite Novotny recording, but the Tchaik Symphonies 1-6 are pretty great. As is the 1812 Overture He absolutely nailed those parts.

No 'burbled note attacks' by Novotny on Sensemaya--listen to your recording again...
Mark

jonesmj wrote:
No 'burbled note attacks' by Novotny on Sensemaya--listen to your recording again...
Mark

You're wrong. The proof is in the pudding. Listen closely:

http://www.youtube.com/watch?v=Dkld0Ge4Rqg

If you can't hear those burbled attacks then I don't know what to say other than....

I think you have bad pudding..
Mark

+1, Mabye if you pull your head out of your *** you could hear more clearly. Go find another player who's *** you don't make hair on and critique them, or even better, post a recording of you and your Kellybourg playing it. Ed Firth

Wow.....I didn't expect such defensive replies. I guess one cant have an opinion here. The notes are all 'there', but there is a 'roll' at the beginning of the notes.....like what you hear from some amateure french horn players. It's actually disappointing that some cant hear it. I've heard violinists and flute players talk about it, usually referring to horn players, and I know exactly what they mean. You do not hear much of that 'roll' or 'snap' or 'burbling' or whatever you call it in most modern pros because it would be unacceptable.

jonesmj wrote:I think you have bad pudding..
Mark

My pudding is good, and tasty, thanks.

EdFirth wrote:+1, Mabye if you pull your head out of your *** you could hear more clearly. Ed Firth

I hear perfectly fine....apparently better than you.

tuben wrote:For my (professional) ears, I don't hear burbled attacks as much as the snap one gets on a large rotary tuba, when using alternate fingerings in the middle/upper register and really GOING for something.

That and/or an acoustic phenomenon as the first instance sounds more like a delay from reflection of the sound rather than a poor or burbled attack.

There is no acoustic phenomenon....it's the way it is played (on purpose or not).

I hope we're not expecting all 5 notes of that initial entrance to be identical in intensity - irrespective of clarity. The first note should be presented as a pickup, and the second note should be the one that gets the most emphasis. Can we agree on that?

Burbled attack? Could you give some examples from the youtube link? Are you talking about the note at 00:24? If that is what you are criticizing--wow.

Good headphones make a big difference, FWIW....


....I hear a 50 year old recording...

[quote="
....I hear a 50 year old recording... [/quote]

Oh no, not those OLD analog recordings, like Reiner/Chicago, Szell/Cleveland, Leinsdorf/Boston, Ormandy/Philly, Walter-Bernstein/NY, Toscannini/NBC.....
Mark

jonesmj wrote:[]quote="]
....I hear a 50 year old recording...

Oh no, not those OLD analog recordings, like Reiner/Chicago, Szell/Cleveland, Leinsdorf/Boston, Ormandy/Philly, Walter-Bernstein/NY, Toscannini/NBC.....
Mark[/quote][/quote][/quote]

Since you opened the door, Marc.

Truth be told, and flame away all you want.... If you don't take into consideration the giant leaps in sound recording technology that have occurred in the past 50 years, there are some duds in those recordings. Further, the introduction of recordings has greatly influenced the generations that came after. Just having access to multiple versions of these works at the touch of one click has introduced and forced today's musicians to imitate and surpass models that are in place. Art and music is learned through imitation and it has now become easier to produce better sounding art because the musicians of today have more references. Also, knowing that they will be playing for more discerning and highly critical audiences than ever (Take this forum, for example) there is much more incentive and pressure to make sure that everything is perfect.

When I listen to the tuba this version:

http://youtu.be/BHZE0t10qpA?t=2m39s" target="_blank

I hear a Cleaner (because of the recording technology) and more 'Perfect' ( strict adherence to the music, clearer articulations, a musical style that has clearly been influenced by hundreds of tubists(directly/indirectly) a great concern for sound/technical/articulation and ensemble)

I don't hear all of those things in the New York phil recording from the 60's. I don't hear perfect ensemble, I don't hear clear articulation at all times. (Heck I don't even hear the f,f,d triplet in the first interjection (I can't distinguish between the first and second f))

Some of that is recording technology, some of that must be lack of exterior criticism, some of that is personal freedom and musicality that is not as present today....

....

I wish I had been alive to hear these legendary recordings live, I'm sure the New York Phil with Bernstein was really something worth listening to live, the recordings certainly aren't bad, but to my ears, the recordings aren't the end all be all. I don't put them on the pedestal that others here seem to. Sometimes, I'd much rather listen to the (slightly more generic) technically 'perfect', sonically 'perfect' digital recording from 5 years ago. for example, one where the tuba is in a much better balance with the orchestra. (most likely due to the sound engineer's work)

These recordings that we have today certainly wouldn't exist if the older ones hadn't been made, I know that. They are the continuity, the extension and the result and sometimes, for some people that's just more pleasing.