I think this piece was meant to give hope to cancer sufferers and in particular Ryan Anthony and not to be a platform for nit-picking amongst brass/non-brass players. Every version I have heard of this piece sends "shivers down my spine". The 2015 CancerBlows version is, in my opinion arguably the best technically, but the one of Ryan playing 4 months before his untimely death is equally memorable for his pure grit and determination.
And yet it is more than Sad to See how Ryan did become „less“ from 2015 to 2020. The new hommage that was released by cancerblows some Weeks ago does give me goosebumps, because of the participation and musical condolence and solidarity. There is hope Even in these crazy times.
I love Adam's choice of pic fror the finale. Bb horn would work - he is not shy on the Bb in that range I know for sure - but not with the ease and tonality to match the ensemble in a more refined manner. Added shine without overtaking or becoming the central focus. Great choice.
Cobb so good. Rappa should stay on the large trumpet until the end, for the sound and the intonation. I know the high G at the end is not an issue for him 😁
@@THall-vi8cp While that might be true, I am steeped in the Classical Orchestral style of extremely LIMITED vibrato in order to BLEND with the remainder of the Brass. Purity of sound, with continual, steady airflow, is the foundation of solid orchestral sound. If everyone is "wavering" all over the place, then the entire Brass Section collapses and is rightfully viewed as a bunch of HACKS. In my view, it is a cheap trick, because it covers up a performer's inability to be a true professional. Imagine if "Fanfare for a Common Man", Die Planeten, Mahler's 5th, Walton's Belshazzar's Feast, or a host of other grand orchestral works were performed with strong vibrato by the entire Brass... each of these compositions would be GARBAGE (and NOT at the fault of the composer).
@Jaegertiger I suppose I didn't state enough. I am also a classical player and would agree that too much vibrato in a section can kill the harmony. I'm not sure if you've ever heard Cobb play with LSO, but he doesn't use the same vibrato with the orchestra, at least in the recordings I've heard. He separates the traditions and plays in the correct style. A final thing to point out is these guys aren't playing in a symphony. That, and they are soloists.
ite@@THall-vi8cp There are women who wear an excessive amount of makeup. One might say that it is "stylistically" correct, but it is easy to spot an excessive amount of makeup (even from a distance). And it is something that I think degrades the supposedly implied intent of enhancing a woman's beauty. It was also "stylistically" correct to create Castrati in order to create a pure, "angelic" vocal sound with greater strength to the voice. But we don't do that anymore and either women or natural countertenors sing those parts. While the viewpoint of a soloist in a British Brass Band seems to be that greater vibrato is stylistically correct, I find it not only extremely annoying but also unnecessary. If one were to apply the same style for the Trauermarsch (Mahler 5th), the performer would be viewed as a cheap, unskilled whore... and rightfully so. At about 0:58, Adam Rapa starts to play. IMHO, he executes in a much more "pure" manner that is much more pleasing to hear. In short, it is ALWAYS easy to produce more vibrato. I can do it quite easily myself, but it is a cheap trick that suggests less skill. The true skill comes from control, full continuous sound, and minimal vibrato. W Vacchiano, S Krauss, G Johnson, Phil Smith, Bud Herseth, Chris Martin, etc. ALL produced a great natural sound. I suppose it becomes a difference of opinion and taste. To me, Adam Rapa is the better performer.
@Jaegertiger I've heard many recordings of Phil Cobb and Rod Franks (both brass banders) with LSO. I'll state again, they don't use the BBB vibrato style in the orchestra. I do agree that the BBB vibrato is over the top and I personally don't like it either. My original response was simply a statement about Cobb's playing history and its influence as a soloist. I am aware that vibrato can be, and has been, used by some to cover up poor tone and intonation. I also know that using large mouthpieces (as is very common in orchestras) has been and is used by some to produce an artificially dark, broad sound, rather than really learning to play and get a pure resonance. Smaller equipment requires a greater degree of precision, control and efficiency. Does this mean that Bud Herseth, Phil Smith, Chris Martin, Bill Vacchiano, David Bilger, Mark Inouye, Peter Bond, George Vosburg, et al. are all unskilled hacks who can't produce a good sound without an equipment crutch? Of course not! Such an accusation is about the same as calling the principal chair of one of the world's leading orchestras a hack because he used vibrato while playing as a soloist outside the orchestra. But I digress. I think you summed it up nicely: "I suppose it becomes a difference of opinion and taste."
Vibrato is a matter of choice .....I think they all played beautifully , the backing band was a joy to hear too.......lovely .
They are all top class but i must say Philip Cobb is really very special.
peter feltham 100% agree
Philip Cobb : One word : Beautifull ,,
Jesus Christ some body put out the fire on does chops that's was mind blowing sound
I think this piece was meant to give hope to cancer sufferers and in particular Ryan Anthony and not to be a platform for nit-picking amongst brass/non-brass players. Every version I have heard of this piece sends "shivers down my spine". The 2015 CancerBlows version is, in my opinion arguably the best technically, but the one of Ryan playing 4 months before his untimely death is equally memorable for his pure grit and determination.
And yet it is more than Sad to See how Ryan did become „less“ from 2015 to 2020. The new hommage that was released by cancerblows some Weeks ago does give me goosebumps, because of the participation and musical condolence and solidarity. There is hope Even in these crazy times.
Wow!!
Well done!!! I knew Rappa was a beast, but the other 2 players with him were damn good, also.
I love Adam's choice of pic fror the finale. Bb horn would work - he is not shy on the Bb in that range I know for sure - but not with the ease and tonality to match the ensemble in a more refined manner. Added shine without overtaking or becoming the central focus. Great choice.
those guys are monsters, but I have to go to the original recording from Ca cer Blows for this piece.
Wow wow wow wow wow that was beautiful want a sound
Nicely done!
Cobb so good. Rappa should stay on the large trumpet until the end, for the sound and the intonation. I know the high G at the end is not an issue for him 😁
He played it safe by sliding into that note, though, which gives me an impression that it is a bit of an issue for him 😏
I thought adam rapa was just gonna stick on the Bb and not change to to picc
Ehhh Ludi....
A little much on the vibrato, eh?
the first guys vibrato is way too much
sebastian martinez it's the tradition of his family to generally have short vibrato it adds a different interest to his tone 😂
I noticed it too!
It's a cultural thing, from the British brass band tradition which has produced some of the finest players ever, including Philip Cobb.
TOO MUCH VIBRATO by the lead trumpet at the beginning. But otherwise, clearly a great composition.
That style seems to be quite common among brass band cornet players.
@@THall-vi8cp While that might be true, I am steeped in the Classical Orchestral style of extremely LIMITED vibrato in order to BLEND with the remainder of the Brass. Purity of sound, with continual, steady airflow, is the foundation of solid orchestral sound. If everyone is "wavering" all over the place, then the entire Brass Section collapses and is rightfully viewed as a bunch of HACKS. In my view, it is a cheap trick, because it covers up a performer's inability to be a true professional. Imagine if "Fanfare for a Common Man", Die Planeten, Mahler's 5th, Walton's Belshazzar's Feast, or a host of other grand orchestral works were performed with strong vibrato by the entire Brass... each of these compositions would be GARBAGE (and NOT at the fault of the composer).
@Jaegertiger
I suppose I didn't state enough.
I am also a classical player and would agree that too much vibrato in a section can kill the harmony.
I'm not sure if you've ever heard Cobb play with LSO, but he doesn't use the same vibrato with the orchestra, at least in the recordings I've heard. He separates the traditions and plays in the correct style.
A final thing to point out is these guys aren't playing in a symphony. That, and they are soloists.
ite@@THall-vi8cp There are women who wear an excessive amount of makeup. One might say that it is "stylistically" correct, but it is easy to spot an excessive amount of makeup (even from a distance). And it is something that I think degrades the supposedly implied intent of enhancing a woman's beauty. It was also "stylistically" correct to create Castrati in order to create a pure, "angelic" vocal sound with greater strength to the voice. But we don't do that anymore and either women or natural countertenors sing those parts.
While the viewpoint of a soloist in a British Brass Band seems to be that greater vibrato is stylistically correct, I find it not only extremely annoying but also unnecessary. If one were to apply the same style for the Trauermarsch (Mahler 5th), the performer would be viewed as a cheap, unskilled whore... and rightfully so.
At about 0:58, Adam Rapa starts to play. IMHO, he executes in a much more "pure" manner that is much more pleasing to hear. In short, it is ALWAYS easy to produce more vibrato. I can do it quite easily myself, but it is a cheap trick that suggests less skill. The true skill comes from control, full continuous sound, and minimal vibrato. W Vacchiano, S Krauss, G Johnson, Phil Smith, Bud Herseth, Chris Martin, etc. ALL produced a great natural sound.
I suppose it becomes a difference of opinion and taste. To me, Adam Rapa is the better performer.
@Jaegertiger
I've heard many recordings of Phil Cobb and Rod Franks (both brass banders) with LSO. I'll state again, they don't use the BBB vibrato style in the orchestra.
I do agree that the BBB vibrato is over the top and I personally don't like it either. My original response was simply a statement about Cobb's playing history and its influence as a soloist.
I am aware that vibrato can be, and has been, used by some to cover up poor tone and intonation. I also know that using large mouthpieces (as is very common in orchestras) has been and is used by some to produce an artificially dark, broad sound, rather than really learning to play and get a pure resonance. Smaller equipment requires a greater degree of precision, control and efficiency. Does this mean that Bud Herseth, Phil Smith, Chris Martin, Bill Vacchiano, David Bilger, Mark Inouye, Peter Bond, George Vosburg, et al. are all unskilled hacks who can't produce a good sound without an equipment crutch? Of course not! Such an accusation is about the same as calling the principal chair of one of the world's leading orchestras a hack because he used vibrato while playing as a soloist outside the orchestra.
But I digress.
I think you summed it up nicely:
"I suppose it becomes a difference of opinion and taste."