Favorite Pieces You've Performed

[relm1]

And, tell the truth and shame the devil, the brass are apt to clobber . . . .

...which comes back to my earlier piont, "The moral of this story is everyone has their moment and you should back off when its not yours, speak up when it is...and all will be well."  If we aren't the lead we need to back off and support the lead...so understand how we fit in to the whole.  If Mahler asks the eight horns to stand up at the end of Mahler 1, he probably isn't looking for them to blend in.  Similarly, if they stand and play modestly, they aren't fulfilling their role there.  What is interesting is a sole trombone joins the horns in standing.  My opinion is the trombone should add a distinct edge to the powerful horn theme.  If the sole trombone is too noticed, it might not be performing the task asked of it there which is to add power to the horns rather than obliterate them.

[Karl Henning]

...which comes back to my earlier piont, "The moral of this story is everyone has their moment and you should back off when its not yours, speak up when it is...and all will be well."  If we aren't the lead we need to back off and support the lead...so understand how we fit in to the whole.  If Mahler asks the eight horns to stand up at the end of Mahler 1, he probably isn't looking for them to blend in.  Similarly, if they stand and play modestly, they aren't fulfilling their role there.  What is interesting is a sole trombone joins the horns in standing.  My opinion is the trombone should add a distinct edge to the powerful horn theme.  If the sole trombone is too noticed, it might not be performing the task asked of it there which is to add power to the horns rather than obliterate them.

Well said.

[TheGSMoeller]

But If a solo trombone can out-blast 8 horns, than we are gonna need a bigger boat. 

[jochanaan]

Agree about the violas at the end, relm.  Fortunately, they have their moment earlier. And would you really like to see anybody in the orchestra NOT playing at such a moment?

[Karl Henning]

Let the bassoons out for a short beer, be a chum!

[relm1]

But If a solo trombone can out-blast 8 horns, than we are gonna need a bigger boat. 

I uploaded the Mahler ending to which I'm referring: http://www.youtube.com/watch?v=j2lPot0uIOY 

This excerpt starts at rehearsal 52.  At around 0:43 into the video, horns and 4th trombone stand (winds play in the air too) as directed in the score.  You'll see what I mean around 0:50 seconds, that one trombone is louder than the 8 horns.  I think it's taking the lead too much and needs to push the horns rather than dominate them.  I think the point of the solo trombone is to make it sound like 16 horns rather than 1 trombone with a few horns in the back.  This was an early rehearsal so still a lot of things to get ironed out.  The trombonist is an excellent player but was really loud (caution to the composer who asks a trombone player to not just play fff but STAND while doing it).  He didn't realize he was dominating so much because when we play loud, it becomes harder to hear other instruments besides your own.  In my experience, I could not even hear the horns in fff passages.  I could barely hear trombones right next to me.  Similarly in Scheherazade, when the tam-tam hits, we play a huge chord.  It felt like I was the only one playing because I couldn't really hear anything but my own self - however the recording showed that it was correctly balanced.  When playing soft, it is much easier to hear each other.  The conductor was Marin's assistant.  You see Marin get up from the rear of 1st violins at 0:43 seconds to sit in the room and hear the balance - adjustments were made.  Anyway, I hope this wasn't too boring but I found it very interesting.

[jochanaan]

... The conductor was Marin's assistant.  You see Marin get up from the rear of 1st violins at 0:43 seconds to sit in the room and hear the balance - adjustments were made.  Anyway, I hope this wasn't too boring but I found it very interesting.

It's interesting to me too.  Adjusting the orchestral balance must be as difficult as equalizing a top-end sound system.  Anyway, I'm glad that Marin does this!  I've read that Stokowski did the same thing, having the assistant conduct much of the rehearsals while he sat in the hall listening.

[Xenophanes]

Mozart, Requiem. One of the greatest choral works. The parts Sussmayr did aren't all that bad, either.

Handel, Messiah. This is great fun to perform, and that includes the bass solos.

Bach, Magnificat.

Beethoven, Ninth Symphony.  The chorus only sings for about 12-13 minutes in the last movement. It's fun as long as you have the high notes in your range.

Orff, Carmina Burana. This is fun to perform, but I don't like listening to it.

Then, we can get to songs.

Caldara, Come raggio di sol.  Somewhat deceptively simple, but absolutely perfect.
-------, Selve amiche.  Great little lost love song.

Massenet, Elegie.  Somewhat of a though nut to crack interpretively, I think. One has to figure out what is happening and what to do with it.  Rosa Ponselle did the best recording of it, I think. We had Richard Crooks' recording, which is vocally magnificent.  But then I learned French and he seems to interpret it as a defiant protest that since his best beloved is gone, he WILL never be happy again.

Kern, Ol' Man River. 

Teresa del Riego, The Green Hills of Ireland. This is an emigre song. I've never been to Ireland, but much of the imagery appeals to me, and it expresses the past one carries with one. Richard Crooks sang this wonderfully well, and I always thought I should learn it. Finally found the music in a good key a few years ago.

Schubert, Fruhlingsglaube.  Not difficult vocally, at least for me, but one still needs to figure out what to do with it.

Handel, Where e'er you walk. Very grand and stately. First learned it with my mother accompanying.

Dalayrac, Jeunes filletes. Cute song, rather naughty, fun to do.

Exsultet (Easter Proclamation). Only done at the Easter Vigil Mass. It's only about an octave in range, but it goes on and on and on for about 7 minutes, so one needs to make sure one has worked out how to do it.

Everybody likes me to do Adam's O Holy Night and Schubert's Ave Maria (you know, THE Ave Maria!). Neither is a favorite of mine, but i do my best with them.  I personally think my voice is too heavy for THE Ave Maria, but people tell me it gives them chills up their spine, or makes them cry. O Holy Night is much better in French, especially the second verse.

Dylan's Blowin' in the Wind is a great song.

[Szykneij]

For me, the Bach/Gounod version is THE Ave Maria.

[jochanaan]

Mozart, Requiem. One of the greatest choral works. The parts Sussmayr did aren't all that bad, either.

Handel, Messiah. This is great fun to perform, and that includes the bass solos.

Bach, Magnificat.

Beethoven, Ninth Symphony.  The chorus only sings for about 12-13 minutes in the last movement. It's fun as long as you have the high notes in your range.

Orff, Carmina Burana. This is fun to perform, but I don't like listening to it.

Then, we can get to songs.

Caldara, Come raggio di sol.  Somewhat deceptively simple, but absolutely perfect.
-------, Selve amiche.  Great little lost love song.

Massenet, Elegie.  Somewhat of a though nut to crack interpretively, I think. One has to figure out what is happening and what to do with it.  Rosa Ponselle did the best recording of it, I think. We had Richard Crooks' recording, which is vocally magnificent.  But then I learned French and he seems to interpret it as a defiant protest that since his best beloved is gone, he WILL never be happy again.

Kern, Ol' Man River. 

Teresa del Riego, The Green Hills of Ireland. This is an emigre song. I've never been to Ireland, but much of the imagery appeals to me, and it expresses the past one carries with one. Richard Crooks sang this wonderfully well, and I always thought I should learn it. Finally found the music in a good key a few years ago.

Schubert, Fruhlingsglaube.  Not difficult vocally, at least for me, but one still needs to figure out what to do with it.

Handel, Where e'er you walk. Very grand and stately. First learned it with my mother accompanying.

Dalayrac, Jeunes filletes. Cute song, rather naughty, fun to do.

Exsultet (Easter Proclamation). Only done at the Easter Vigil Mass. It's only about an octave in range, but it goes on and on and on for about 7 minutes, so one needs to make sure one has worked out how to do it.

Everybody likes me to do Adam's O Holy Night and Schubert's Ave Maria (you know, THE Ave Maria!). Neither is a favorite of mine, but i do my best with them.  I personally think my voice is too heavy for THE Ave Maria, but people tell me it gives them chills up their spine, or makes them cry. O Holy Night is much better in French, especially the second verse.

Dylan's Blowin' in the Wind is a great song.

You sing bass or baritone, I take it.

[madaboutmahler]

That trill is one way I judge recordings of the Eighth. It's surprising how few get it really right or really audible.

Sarge

Same!

For me, as a percussionist:

Shosty 5 - xylophone, glockenspiel, triangle, tam tam, and bass drum. (the last few thuds were very emotional to do!)
The Planets - played just about everything in rehearsal, but 2nd timp set in the concert

Berlioz Roman Carnival - cymbals, great fun!
Scheherezade - cymbals, tam tam

As a soloist:
Brahms A Major Intermezzo Opus 118
Chopin C Minor Nocturne