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Author Topic: tromboneexcerpts.org  (Read 12435 times)
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shack

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« on: Dec 04, 2007, 08:12PM »

This should be stickied for sure. This website is the best ever. It has the actual sheet music AND recordings! Usually over 5 recordings of each excerpt.
« Last Edit: Dec 05, 2007, 12:35AM by RedHotMama » Logged
RedHotMama
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« Reply #1 on: Dec 04, 2007, 09:43PM »

Is this legal?
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Christine (red hot - that's what!)
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shack

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« Reply #2 on: Dec 04, 2007, 10:09PM »

Who knows?

I've known of it since forever, I'm surprised somebody hasn't mentioned it here before!

I stand corrected.

https://tromboneforum.org/index.php/topic,29269.0.html
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« Reply #3 on: Dec 04, 2007, 11:03PM »

Is this legal?

From the website:

Quote
According to Section 107 of the U.S. Copyright Law, the content of this site falls within the boundaries of "fair use" because it is a non-profit, educational resource, and presents only a part of a whole regarding each recording and printed excerpt.
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RedHotMama
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« Reply #4 on: Dec 05, 2007, 12:35AM »

Oh, OK. I'll sticky it then!
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Christine (red hot - that's what!)
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« Reply #5 on: Mar 22, 2008, 04:54AM »

Listen to the Vienna/Boulez Mahler 3 clips with Ian Bousfield playing the solo - surely the definitive interpretation?
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« Reply #6 on: Mar 22, 2008, 05:56AM »

Listen to the Vienna/Boulez Mahler 3 clips with Ian Bousfield playing the solo - surely the definitive interpretation?

I would never want to take away anything from Ian Bousfield, definitively one of my favorite trombone players in every regard, but after listening to all of the Mahler excerpts I would find it difficult to pick anyone of them above the others. I thought that they were all wonderful!
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« Reply #7 on: Jul 28, 2008, 08:18PM »

Listen to the Vienna/Boulez Mahler 3 clips with Ian Bousfield playing the solo - surely the definitive interpretation?


  The recording is fantastic, but I would hesitate to ever say surely definitive about any single recording. Many trombone players look to the NY Phil/Bernstein/Alessi recording as "definitive". If you listen to the recordings on the website, they are all different. Several of the recordings on the site could be considered definitive recordings.
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« Reply #8 on: Jul 28, 2008, 08:50PM »


  The recording is fantastic, but I would hesitate to ever say surely definitive about any single recording. Many trombone players look to the NY Phil/Bernstein/Alessi recording as "definitive". If you listen to the recordings on the website, they are all different. Several of the recordings on the site could be considered definitive recordings.
One must remember too that not all ensembles/audition committees want to hear the same thing. What one group might define as too loud, another might hear as something else.
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« Reply #9 on: Jul 28, 2008, 09:13PM »

One must remember too that not all ensembles/audition committees want to hear the same thing. What one group might define as too loud, another might hear as something else.


  This is very true, however this isnt something you should be thinking about before an audition. You can't try and second guess what the committee or music director want to hear. All you can do is play it beautifully, and be able to adjust should the panel/music director want to hear it differently. Listening to recordings like Bousfield w/ Boulez and Alessi w/ Bernstein can give anyone the proper ammunition to support their interpretation.
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« Reply #10 on: Jul 29, 2008, 02:55AM »


  This is very true, however this isnt something you should be thinking about before an audition. You can't try and second guess what the committee or music director want to hear. All you can do is play it beautifully, and be able to adjust should the panel/music director want to hear it differently. Listening to recordings like Bousfield w/ Boulez and Alessi w/ Bernstein can give anyone the proper ammunition to support their interpretation.

Which was my point. This really is broader than just an audition situation; if one freelancing, it would also apply. Listen to as many interpretations as one can find, build an idea of how the excerpt should sound and be prepared to be flexible. How bad would it suck if a player was asked to, " Make it sound more Alessi like" and the player did not bother to listen to that particular recording because he felt that he had found the definitive recording elseware.
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Pro level? Pro level!  You make it pro, you make it good You make it loved and play nice Then its a pro level horn
Leif

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« Reply #11 on: Jul 29, 2008, 01:49PM »

Listen to Tchaikovsky's 6th with the Kirov Orchestra.

Can you say LAZERED!?

(sorry halo 3 term lol)
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« Reply #12 on: Jan 18, 2009, 02:50PM »

That Kirov Tchaikovsky 6 is something!  Evil I think that's one of the loudest sections I've ever heard. They also have some other Phenomenal recordings. Off the top of my head, Scheherezade, The Shostakovich War Symphonies (4-9) are all great. And there are several earlier recording of a lot of great Russian operas.
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« Reply #13 on: Dec 17, 2009, 08:24PM »

That Kirov Tchaikovsky 6 is something!  Evil I think that's one of the loudest sections I've ever heard. They also have some other Phenomenal recordings. Off the top of my head, Scheherezade, The Shostakovich War Symphonies (4-9) are all great. And there are several earlier recording of a lot of great Russian operas.

Yes!!!

You need to listen to the NY Phil recording on there, AND the CSO 1978 recording on there...the first opening segment of the bones is AWESOME....

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« Reply #14 on: Dec 21, 2009, 08:04PM »

Yes!!!

You need to listen to the NY Phil recording on there, AND the CSO 1978 recording on there...the first opening segment of the bones is AWESOME....


On the Tchaikovsky 6th section?
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Xavier Gonzalez
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« Reply #15 on: Jan 16, 2010, 04:13PM »

Listen to the Vienna/Boulez Mahler 3 clips with Ian Bousfield playing the solo - surely the definitive interpretation?

Unfortunately, I bought the Tennstedt version with the London Phil, also to be found on the site. It's horrible, the first note sounds like he ripped his bell right open. I might buy the Boulez version.
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