Solos you can't stand.

tubafatness · Post by **tubafatness** » Sun Dec 04, 2005 3:41 pm

"Solo Pomposo" by whoever
"Beelzebub" pretty much explains it
the tuba Arban's "Blue Bells of Scotland", it was my first big solo, and for some reason, I don't like it that much anymore.
the first couple of bars of the Gregson Tuba Concerto, it's not bad, it's just that it's not my "style," per se.

TexTuba · Post by **TexTuba** » Sun Dec 04, 2005 3:46 pm

I can not STAND the Hindemith Sonata. It just drives me nuts that it is considered 'standard rep.' when it's just a terrible piece. It should be classified as a piano solo with tuba backing it up. I may be burned for writing what I just wrote, but I don't really care. He asked and I spoke!

Ralph

TubaRay · Post by **TubaRay** » Sun Dec 04, 2005 6:51 pm

Shockwave wrote:The tuba is a generous instrument, the low man on the totem pole supporting the rest of the ensemble. To be a tuba player you need to be pretty generous too, donating a substantial part of your oxygen intake to providing a solid bass foundation for an ensemble without any personal glory. Serious solos are for selfish instruments like trumpet and violin. Thats why the best tuba solos are ones for comic relief (like Carnival of Venice), where the tuba player generously sacrifices his own dignity to make the audience happy. For that reason, "serious" tuba solos are the ones I can't stand, they degrade the instrument to trumpet status.

-Eric

I had never thought of things in this way, but I find myself agreeing with you. This certainly makes some sense. Thank you for provoking thought in this manner.

Chuck(G) · Post by **Chuck(G)** » Sun Dec 04, 2005 7:21 pm

The Mendelssohn Violin Concerto in E. It's best left for serious instruments like the ocarina:

http://www.seaview.dial.pipex.com/audio/Buskers.ram

Chuck Jackson · Post by **Chuck Jackson** » Sun Dec 04, 2005 8:33 pm

Good for you Johnathontuba.....I still will avoid it like the Plague. You know what they say about opinions.......

Chuck"who will someone else fill in the gaps"Jackson

Biggs · Post by **Biggs** » Sun Dec 04, 2005 8:35 pm

Hartley Suite for Unaccompanied Tuba.

Sorry, but too many bad experiences. I do, however, love the Haddad Suite.

prototypedenNIS · Post by **prototypedenNIS** » Mon Dec 05, 2005 2:08 am

Frackenpohl Sonata for euphonium

calliope music... might make good gag music for a dbeuph but seriously, I was waiting for cotton candy, corndog, and souvenir vendors to show up when I was playing it.

Haugan · Post by **Haugan** » Mon Dec 05, 2005 2:20 am

Does anyone actually think the John Williams concerto sounds GOOD? Is a good representation of his effort? Would be embraced by the general public? After working it up, I have serious reservations about inflicting it on an audience. Has anyone out there played it and felt it was really well received? I spoke to Chester Schmitz a couple of years ago, and he said that Doug Yeo did some serious changes in editing the piece for publication. I would actually consider performing it if I thought an audience could really "connect" with it. THOUGHTS???????

finnbogi · Post by **finnbogi** » Mon Dec 05, 2005 3:30 am

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.

Haugan · Post by **Haugan** » Mon Dec 05, 2005 3:36 am

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.

finnbogi · Post by **finnbogi** » Mon Dec 05, 2005 3:40 am

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.

prototypedenNIS · Post by **prototypedenNIS** » Mon Dec 05, 2005 4:25 am

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've rather liked that one.

Jarrod · Post by **Jarrod** » Mon Dec 05, 2005 9:55 am

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.

Jarrod

Tubaguyry · Post by **Tubaguyry** » Mon Dec 05, 2005 10:26 am

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.

Mark · Post by **Mark** » Mon Dec 05, 2005 1:22 pm

SeasoningSalt wrote:Honestly though, how do we know some tuba works do not reflect the work of satan??

What about Beelzebub?

Chuck(G) · Post by **Chuck(G)** » Mon Dec 05, 2005 1:26 pm

Mark wrote:
SeasoningSalt wrote:Honestly though, how do we know some tuba works do not reflect the work of satan??
What about Beelzebub?

Or "Jenny Jones":

Mark · Post by **Mark** » Mon Dec 05, 2005 1:33 pm

TheEngineer wrote:Beelzebub isn't the work of Satan. It was outsourced to his head crony.

Mama Boucher: I don't ever want you associatin' with tuba players.

Bobby Boucher: Why not, Mama?

Mama Boucher: Because tuba players are the devil!

Mark · Post by **Mark** » Mon Dec 05, 2005 1:38 pm

bloke wrote:
Chuck(G) wrote:Or "Jenny Jones"
Is she still alive?

Yes, it's only her guests that get murdered: http://talkshows.about.com/cs/jennyjone ... erdict.htm

windshieldbug · Post by **windshieldbug** » Mon Dec 05, 2005 2:03 pm

Chuck(G) wrote:
Mark wrote:
SeasoningSalt wrote:Honestly though, how do we know some tuba works do not reflect the work of satan??
What about Beelzebub?
Or "Jenny Jones"

There's a tuba solo called Jenny Jones!? Well, I was in a coma for a while...

Many brave men are asleep in the deep, so beware! BE-WARE!

Chuck(G) · Post by **Chuck(G)** » Mon Dec 05, 2005 3:13 pm

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.