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I'm looking for thoughts on articulation in the VW during competitions/auditions. I've always felt that the original articulations (from the handwritten manuscript) were much more musically satisfying, but the published part includes the revisions done by Catelinet.

For those not familiar with the original manuscript, basically the solo part's phrasing mirrors the phrasing in the accompaniment. Most of the part includes long slurs instead of the tongue two, slur two articulations that abound in the published part.

In a performance that is not adjudicated, the choice is purely artistic, but in a competition or audition, one could be marked down for revising the published version. Any thoughts?

It's been a long time since I've played in a competition, however, I have told my students that if you submitted a copy of the edition you are actually playing that your articulations should be accepted.

If a competition specifies an edition of the solo to be played, those are the articulations you should use.

If the competition doesn't specify an ediiton and you are not allowed to submit a copy of the version you are using, any guess could be the "wrong" guess. Be as pro-active as possible.

As an adjudicator, I listen for the most musical performance. The technical aspect of the articulations are secondary unless there are problems.

I know that in some competitions (not just tuba) the panels ARE very picky about the technical aspects but those events are usually very specific about which editions are to be played, too.

There was an article by Roger Bobo in the April issue of tubanews concerning exactly this situation (performing a piece at an audition/contest situation and an artist´s liberty to interpret a piece):

http://www.tubanews.com/articles/contentid-156.html

Quite interesting to read, especially as I had (apparently I´m quite naiive) thought that when studying music, the techniques of approaching a piece for different situations like auditions or recitals were adressed at length.

i enjoy the piece more when the articulations emphasize the slur more than tonguing

I love the way Fletcher plays it. A good model for any performance or audition.

any idea as to where we can get a copy of THAT original version?

The Oxford solo/piano ed. is so much crap.

Really? That's the version I have. I'm trying to learn it to audition for the high school national honor band. Some of the articulations make no sense at all.