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Question for the low brass players out there.

I just saw two recent pictures of the Philadelphia Orchestra and Chicago Symphony where Carol J.and Gene P. are behind the bones instead of next to the bass trombonist. When did this practice start and why?

Probably just a logistical move--large instrumentation, chorus, on-stage ballet, that sort of stuff. I have never seen Philly set up like you describe.

https://www.dropbox.com/s/x63xmcrp055n9 ... 6.png?dl=0" target="_blank (Philadelphia O/Mahler 9)

https://www.dropbox.com/s/5upvoepib8f86 ... 0.png?dl=0" target="_blank (Chicago symphony/Pines of rome)

In recent years I've observed that Gene is sitting in back of the trombones. Also, on that Gabrielli recording session that was posted on here he made the observation that it was nice to hear just tuba( him,Mike Roylance, and the guy from Cleveland whose name I don't recall) instead of bass bone. It could be related to that. I've done it, many rungs down the musical ladder from Gene and Carol, and it keeps things more mellow. But I haven't heard anything about friction with those guys. Ed

Yep here he is behind the trombones: https://www.youtube.com/watch?v=MhHwr1tLrrY" target="_blank

It's probably so the upper trombones/trumpets can hear him better.

Funny coincidence - I'm about to start an orchestra concert right now where we are seated exactly like that (my first time ever in 40 years).

My situation is due to stage constraints.

I've had to do this a few times. Every time was due to space constraints, usually caused by a very large choir.

Space constraints.

bloke wrote:' and hell...when would I ~NOT~ (??) be able to hear the bass trombone...seriously...

Well, of course the obvious answer here is the roughly 80% of the time in orchestral playing when the bass trombone is tacet or resting.

lornix wrote:Well, of course the obvious answer here is the roughly 80% of the time in orchestral playing when the bass trombone is tacet or resting.

As opposed to the 90% that we are usually?

We just played Symphony Fantastique and the two tubas were behind the trombones. Not where we normally sit but we had a lot more space, which I like. I

The opposite is playing in a British style brass band, which has a tendency to pack the players really close. Not good if you play tuba.

Hup

The answer is given here at 17:53
https://youtu.be/aHs4W3bdReI

I've occupied that spot on a couple of occasions due to space constraints. The trombone section actually enjoyed it better because the sound was more balanced. I have been wondering, though, if Gene gains an acoustical advantage in the hall with his proximity to the wall. Not that he needs it, but, he would most certainly hear himself a bit better at the very least.

Iliotuba wrote:Question for the low brass players out there.

I just saw two recent pictures of the Philadelphia Orchestra and Chicago Symphony where Carol J.and Gene P. are behind the bones instead of next to the bass trombonist. When did this practice start and why?

Gene has been quoted saying that when he sits at the end of the section, he can't hear anything past the bass trombone. I'm sure it's not meant to be a slam at Charlie, but seems as if he simply wants to be able to hear more of what is going on in the rest of the orchestra. Based on the stage set up in Orchestra Hall, he certainly did not have to move because of any space constraints.