phoenix wrote:...who writes a Sonata for an instrument, and makes the accompaniment harder than the actual solo?
In my opinion, Brahms' violin sonatas are even more technically demanding for the pianist than the violinist. That's just one example.
Then again, most sonatas (including Hindemith's brass/wind sonatas) are written for two instruments, not solo and accompaniment.
Not being familiar with the "Dogpatch Philharmonic" I'm sure THEY sound "good"? Personally, I've no doubts of being able to "sound good", or great for that matter, I'm just thinking that a better piece of music might more aptly serve my purpose. I've played the Vaughn Williams enough that "something different" seems in order, but the John Williams still sounds somehow "trite" or "commercial" to my ears, and I have reservations about using a concerto opportunity on something I can't completely commit myself to.
Last edited by Haugan on Mon Dec 05, 2005 3:50 am, edited 2 times in total.
There is nothing either good or bad, but thinking makes it so. --Shakespeare
It is my belief, that nearly any invented quotation, played with confidence, stands a good chance to decieve - Mark Twain
Tubist wrote:i am playing KONZERT FUR TUBA UND KLAVIER A. Lebiediev do you assciete this piece???? I need a record from this piece because I must listen to
According to this Jeff Funderburk has recorded the Lebedev concerto (on the Passages CD). I have never heard his recording, but I have played the concerto - it is a nice piece.
Brian Bowman is God wrote:Oh yeah......and Morceau Symphonique.....Especially the beginning, but I don't much care for the entire thing in general really.
I very much enjoy John Williams' orchestral music, even if bits of it are "borrowed" from Strauss, or others. I think a large majority of it is brilliant. However, I have given the tuba concerto several chances, and it just doesn't appeal to me. I thought that I would, at last, "get it" recently when Oystein was playing it on a recital. He played it fantastically, as you can guess, and I still found myself having a hard time appreciating it, even though I really wanted to. I enjoy playing and listening to the first couple of lines, then it fades for me.
Another piece I dont' care for is the Gregson. I never appreciated that piece either.
All copies of Clare Grundman's Tuba Rhapsody and the Beversdorf sonata should be rounded up and given to the Humane Society to use as toilet paper for dogs.
Ryan Rhodes
Springfield, MO
Big Mouth Brass J-445LQ F
JinBao 600S F
1919 Holton Eb
1964 Olds O-97 BBb sousaphone
"When the power of love overcomes the love of power the world will know peace." - Jimi Hendrix
windshieldbug wrote:
There's a tuba solo called Jenny Jones!? Well, I was in a coma for a while...
A 99-year coma?
William Rimmer, circa 1906 or thereabouts. Originally written for sop cornet, but versions exist for cornet, tenorhorn, baritone/euphonium and Eb bass with brass band (or piano). John Griffiths has recorded this one for his "Extreme Tuba" CD. Graham Fraser's also recorded it with the Whitburn band.
For that reason, "serious" tuba solos are the ones I can't stand, they degrade the instrument to trumpet status.
I do like this approach, although I disagree with it.
So far I still am to meet the tubist who doesn´t ENJOY their role in band, being conscious of the task and (hopefully) the ability to support the whole ensemble. At some times I´m afraid we are showing off our own way, and many times I find myself flexing my muscles musically. Usually this my behavior has been encouraged by those up front waving their stick, so far, and most of the time the repertoire seems to call for it.
I think this is the kind of behavior shockwave attributed to trumpets, just from a different angle.
The thing is, most solo instruments just enhance what they are doing as part of the ensemble when performing a concert.
Now try doing that as a tuba soloist, and you might just as well get on stage in a red swimsuit, covered with brown-pigmented oil.
No one seriously wants to listen to the opening, I don´t know, maybe 40, measures of Rheingold (Yes, the Eb), taken down 2 octaves and played at earth shaking volume in one breath.
Even at original pitch and volume, I think this is harder to do than the "Ride" one opera later, but still I´m afraid an audience wouldn´t really appreciate it.
Things like that, I´m afraid, is what´s left if the aforementioned "serious" tuba soli are neglected.
I´d like to play elegant, cheerful, touching, at any rate non-bombastic music if I ever were fit to give a recital.
Hans
Melton 46 S
1903 or earlier GLIER Helicon, customized Hermuth MP
2009 WILLSON 6400 RZ5, customized GEWA 52 + Wessex "Chief"
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tubeast wrote:many times I find myself flexing my muscles musically. Usually this my behavior has been encouraged by those up front waving their stick, so far, and most of the time the repertoire seems to call for it.
I do this all the time. I believe we influnce the musical interpretation of the ensemble much more than most people realize. I seldom rebel against the conductor, mind you, but I do often put musical nuances into things which the entire ensemble tends to pick up on. I suspect they are not usually aware that this ever happened. This makes it even cooler considering the general status tuba players enjoy.
