Ever been emotionally moved WHILE playing?

[Bandmaster]

There have been many times over the years that I have been moved emotionally while playing, conducting and listening. But one time in my life have been totally overwhelmed while playing. It was when I was at Long Beach State in fall of 1977. It was our last day of performances for the season. We rehearsed in the morning, performed at the awards ceremony for the Long Beach All-Western Band Review inside the Long Beach Arena at 7:00 PM, and then bused to Anahiem Stadium to perform for our last home footbal game of the year. We had performed this song at the All-Western Awards show and then again during our post game concert at the stadium. We always ended the evening standing in concert block on the field and played for the sizable crowd (several thousand) that would stay after the game to hear us play. The arrangement of Send in the Clowns that Marvin Branson arranged for us was absolutely beautiful, and that night during the post game concert the magic happened. As we played the goose-bumps started to form and the tingling start moving up the spine and it just kept building. You could see the expression on the band director, Larry Curtis' face as he was conducting, he was definately feeling it too. When we released the last note it was an erie feeling as all 250 band members just turned and stared at eachother in disbelief. We all realised that something very special had just happened. My best friend was up in the stands and he told me later the the crowd felt it every bit as much as we did. That was 30 years ago and I have yet to feel anything as intense since. I know for me, it is an experience I will never forget. There was no recording made of the post game performance, but below is a link to the All-Western Awards performance. The magic wasn't there, but it was still a fine performance and should give you a clue to how nice the arrangement was.

Send in the Clowns - 1977 Long Beach State Big Brown Music Machine

[Matt G]

There have been many moments. I enjoyed them all. Wade's thoughts (especially one the "one note" theme) pushed me to make this post, one that is a tough post to write.

My last note on stage was with the New England Brass Band. I knew this was the last "hurrah" for me, as my chop issues continued to progress, and playing in the low register was becoming nearly impossible. I can't remember the name of the piece, but all I know was that it had a pedal BBb. Before FD started taking over, my low-register crushed. Other player's would joke around that I could emulate a tractor-trailer jake-braking due to sheer volume. That pedal BBb was gone with my regular low-register embouchure, but I could still get it with the original shift I learned years ago back in high school. I had to do my best, and that pedal BBb was there, in tune, on time, and loud enough to balance the group well. We (the New England Brass Band) won our division, and I was mainly happy that I just didn't let all of those other folks and Doug Yeo down. Looking back, at least it was a good ride while it lasted, and I went out on an emotional high with a fittingly low note.

[jeopardymaster]

Happens way too often when I am singing. Only twice with my horn - the VW Sea Symphony - after my part was finished - plus Sibelius 2, as the final chord resonated in the hall. Not WHILE I was playing, thank God. I've never done Mahler 2, and a good thing - that last lick would probably not happen.

[MikeS]

Several years back I played second trombone for a series of performances of "Wozzeck." Not only was this about the most difficult music I've ever played, the opera itself is emotionally devastating. I was an absolute wreck after every performance.

Note to Bloke: The paycheck for this came in the mail about two weeks after the last performance. If we'd been paid at the gig I'd either have bought one $%*&load of alcohol or given it all to an orphanage.

[Tom Holtz]

Carmen Dragon "America The Beautiful" for a packed house somewhere in Tennessee on tour. It was about two months after 9/11. Crushing.

[tubadoctor]

Both times I can remember involve the Atlantic Brass Band. We had this great guy that sat next to me in the Bb tuba section. He wasn't the best player, but had a little agreement with the section leader to sit out when stuff was over his head.. He was always there with a smile on his face, and it was hard to let a bad day/weekend continue sitting next to such a great person... He passed away pretty suddenly between rehearsals one week... The next week at the concert, we had an empty chair set up for him on stage... They dedicated a tune in his memory that day... I can't remember which tune it was, but it was an older contest piece with a beautiful chorale section near the end... Sitting next to the empty chair and hearing the beautiful music was quite moving...

The second was with the same band... We were scheduled to play a concert in Cape May, NJ, in the middle of September, 2001... It was only a week or so after, and we went on with the concert... We played the Carmen Dragon America the Beautiful chart as a closer to the concert... It was quite emotional to say the least... towards the middle of the tune, already near choked up, the other Eb player started tapping my leg... I was pissed that he broke me from the zone I was already in, but looked to see what he was pointing at.. One by one, the members of the audience were standing up at attention, or placing hands over hearts, many visibly crying... It was one of the most moving scenes I have ever been a part of, and even now just typing the story is getting me a little choked up...

[Bandmaster]

The arrangement of Send in the Clowns that Marvin Branson arranged for us was absolutely beautiful, and that night during the post game concert the magic happened. As we played the goose-bumps started to form and the tingling start moving up the spine and it just kept building. You could see the expression on the band director, Larry Curtis' face as he was conducting, he was definately feeling it too. When we released the last note it was an erie feeling as all 250 band members just turned and stared at eachother in disbelief. We all realised that something very special had just happened.

You should try doing that same song with a Santa Clara hornline. Here is a pic of the crowd SCVAC played for in '02, just before finals started Saturday. I aged out at that stadium in '86 and it was very cool to stand on that field once again, with other SCVs at the 2002 Nationals.

I have a recording of your 2002 performace here on my computer. I have quite a few friends that were on the field playing with you that day. But my all time favorite SCV moment was at DCI Finals in 1987 when they opened their show with Russian Christmas Music. THAT was an emotional experience for everyone that heard it! Santa Clara and Phantom Regiment are the only corps that have ever given me that tingling feeling when they play.

[skeath]

It happens often to me, to one degree or another, but the most extreme case was when my quintet (which had been together for 26 years) played for the funeral of our first trumpet (also a founding member). We played several special arrangements of hymn settings that we had played as a group for years. It became very difficult to go on, and for the next year, playing some of those pieces brought back a rush of emotion.

It was, in its own way, more difficult than playing for the SW Exposition Rodeo.

[eupher61]

I hope to have such an experience at least once on every gig. It doesn't always happen, but more often than not it does.

[The Jackson]

I get "emotional" sometimes while listening to music, and I really do wish to feel the same way when performing, eventually.

[Brassworks 4]

Quite a few times, actually. But then, I do cry at road kill.

In all seriousness, Lauridsen's "O Magnum Mysterium" for brass does it every time.

But the most difficult was last summer during the memorial concert for one of our quartet members. Our finale consisted of the three of us playing "with him" on a piece he wrote. We had his track pulled from our recording and we played along with it. It was quite an experience. His sound filled the theater, coming through the sound system in all directions. And there we were on stage, playing through our tears as we matched his sound for the last time. wow. Somehow we were given the strength to pull it off, despite the emotion.

[Adam C.]

Any time playing the Service Medley and seeing an elderly veteran rise up out of his wheelchair unassisted.

[Norwintuba12]

I am playing Magnum Mysterium in Wind Ensemble so it has its emotional ups and downs, but last year at a local festival I was sitting principle and the conductor told me to play the pedal BBb at the end of An American Elegy and by the time we got to the end I was so emotionally moved that I had my freind play it. This is honestly the most beautiful peice of music and it has true meaning.

[JHardisk]

Any time playing the Service Medley and seeing an elderly veteran rise up out of his wheelchair unassisted.

It is this reason that I never look into the audience when doing the service songs. America the Beautiful is at times, moving, too. Nothing worse than trying to "read" music through cloudy eyes...

[Wyvern]

I have frequently got emotional while playing. I think nothing links so directly into the emotions as music!

The finale of Mahler 6 never fails to affect me and also playing that beautiful brass chorale in Tchaikovsky Pathetique last movement. But emotions created do not have to be sad, or sentimental. Playing joyful music will also lift me out of depression, if I am feeling particularly down.

[TubaBobH]

Our community concert band will be performing "A Movement for Rosa" by Mark Camphouse for our series of July 4th Patriotic concerts. We have only run through the piece a couple of times so far, but it really seems to be pushing a lot of my emotional buttons during these rehearsals. It is a very powerful piece of music with a really nice tuba line.

[tubafatness]

While it wasn't a full out emotional response, I did feel something similar two weeks ago, at a Wind Symphony concert. We were playing a song called "My Sister's Tears" by a composer named Ralph Hultgren. Both of my parents were in the audience, and for some reason, in the middle of the piece, all I could think of was my Aunt Vicki, (my mom's oldest sister,) who died several years back of leukemia. I know that hurt my mom and her family quite a bit, especially since it was not too long after my Grandpa, my mom's father, had died of complications from a stroke and other health problems. I was fine, but it did hit me pretty hard.

[TUBAD83]

We are in the business of emotion-- of moving people with our performance. So how can we not be moved, especially if the music is performed well? But I think I understand what you're asking--there are pieces I have really love playing very much and are truly very moving:

Irish Tune from County Derry
The Navy Hymn (Eternal Father Strong To Save)
America The Beautiful
Amazing Grace
A Lincoln Portrait
Mansions of the Lord

[Highams]

I think the slow music today will be very poignant as we lost two close friends this week, one on Wednesday the other late last night.

CB

[TubaRay]

I have followed this thread with interest, since its inception. I have most certainly experienced very strong emotions while performing. A Movement for Rosa was responsible for this, at least once. When this occurs while I am playing, I do my best to hold back the physical part of the emotional response, as this makes it extremely difficult for me to play. It affects the entire breathing apparatus, which can cause a performing disaster. I might add that this is not always easy to do this.

As we know, music can convey the full spectrum of emotions. In this manner, we are swept along with whatever emotion is in the score. It is not limited to just sadness. It can range from overwhelming sadness to unspeakable joy, with all the emotions in between. As an example, I find that performing as I often do, in polka bands, allows me to experience the "just plain fun" emotion.