Nitzan's playing is beyond extraordinary...I've NEVER heard such incredible sound from a trombone...get a chance to hear him live sometime...he will blow you away, not to mention it is hard not to tear up, its that good.
Schumann didn't care much for singers until he lost his piano playing ability, then he turned to writing songs, It is so delightful to hear his music on trombone being sung so beautifully and with such grandeur. Great playing. I cant get enough .
Um som maravilhoso fraseado primoroso sem arrobos de vituosidade barata,um exelente musico antes de tudo,Um trombonista que engrandece o nosso instrumento,BRAVO Nitzan Haroz!!!!!!.
Who is the one idiot who checked dislike? Nitzan needs to record many more solos. He (and the rest of the trombone section) is often the reason for me going to the Philadelphia Orchestra!
I didn't vote down, but only because I appreciate what's involved in playing these pieces, even if only after this fashion. I'll wager that no one came here to listen to this who wasn't an aspiring amateur trombonist who came here (and stayed) looking to be impressed; which is of course your educational privilege. And you should be impressed! Nitzan is by evidence a very fine orchestral trombonist, and embedded in that context these performances prove an extension of his ability beyond that forum. My point is that, in pursuit of that musical extension, you realize the limitation of the existent trombone paradigm that he particpates in. I'm certain that no effort was made by Nitzan to attempt the things that 'I' find lacking in trombone performance. Nitzan is trained to, and has mastered the paradigm that 'defines' orchestral trombonism. But as a result, at no point was I ever able to forget that I was listening to trombonist, and an orchestral one at that. That is of course both a success and, from the perspective I am proposing, a failure. There is a reason why instrumental specialists do not, in a general sense, listen 'across' instrumental boundaries, as described by the instrument itself, and 'down', as described by an occult hierarchy that exists within the orchestra. In this case, sufficient trombone awkwardness remained and was communicated through the music, weighing it down and preventing it from taking flight. I wanted to hear music divorced from a required accounting of the instrumental muscularity and virtuosity which is only 'thought' necessary to trombone performance. You don't get a sense that these pieces are difficult when you hear them played on the oboe, clarinet, or violin, nor should you , nor need they, for that matter, 'sound' difficult on the trombone except that there is an way, call it masculine, of coming 'at' or performing on trombone that is self-forgiving and unnecessarily heavy-handed. In the most superficial sense, I think that these melodies would sound less...forced and strident if they were played on a smaller trombone and mouthpiece, with less volume, but more intimacy , lyricism, and nuance. Much in the way that, IMO, song cycles written for tenor voices, sound...wrong sung by baritones. [Note: I will defend myself hear by saying, Yes, that does mean that I do not like the timbre of Dietrich Fischer- Dieskau (often regarded the last centuries greatest proponent of lieder) singing lieder either, and would much prefer to listen to Ian Partridge in this repertoire. My point is, 'where has the tenor gone from tenor trombone? To get a better sense of what I mean, listen to the commercial trombonist Alan Kaplan play any ballad. Listen to th-cam.com/video/FWXgTGF6xn0/w-d-xo.html and read my post there for a more complete explanation. Then listen to th-cam.com/video/bI3K-Ir_MWU/w-d-xo.html and read my post there for an explanation of true virtuosity. Nitzan is, by this accounting, an extremely fine orchestral trombonist. I can not do what he does as well as he does, principally now because I don't want to, and secondarily in the past because I couldn't and didn't know any better anyway. Similarly, he would not want to do what I do (nor could he hold his position doing so), which is to say, play a trombone as if it were not a trombone, in order to transcend the paradigm; a trombone, with no obligation to suffer the awkwardness caused by overreaching the acoustic limits of both instrument and body. I have written at length elsewhere on what I believe to be the failing of the modern orchestra, and brass sections in general, which have gotten louder and louder, as a byproduct of chasing the prevailing paradigm, while orchestras themselves have not. Please search them out elsewhere, and then... Follow the extension of my reasoned line of inquiry, and then you decide if I'm damning Nitzan with faint praise or making a point that brass instruments, and trombone in particular, have lost there way, although not so to its champions in practice (Nitzan) and principle (me). Tim
Hello, Having recently returned to playing, I now have amendments to make to my initial comment a year ago. I now play all 3 of the Fantasies and the Romances as my daily strength builder. And while it is true that the Fantasies are technically harder to play musically (played at the correct speed to qualify them as fantasies; the clarinetist I posted fails in that one regard only), I find now that the Romances require greater endurance, which is something I was not conscious of when I played these as a professional daily driven to copious strength and endurance. That being said, they both prove the practice of building technique through quality music. It should be said that in practice, these pieces should be performed first by eliminating obligation of instrument specific technical challenges. Make no concessions to instrumental habit, convention, or physics. Execute these pieces as if you were playing a clarinet musically; an instrument which suffers none of the supposedly innate awkwardness that is peculiar to the trombone in particular, or to brass instruments in general. THEN...include the interpretive nuance that only the trombone can realize (still minus the impediment of general brass physics) as a function of its slide, to prove that it is an asset not a liability. This is the final stage of instrumental and musical...legitimacy, which is something that the trombone has never enjoyed for having been failed by previous generations of performers, and therefore too composers who decided NOT to write for the instrument for its lacking...sufficient musical championing. Unfortunately, the tendency of brass players to carry their orchestral obligation to play loud into solo realms too much predominates in the minds of those best placed technically to service the demands of music, which travels where it must without regards for difficulty of execution. Having the luxury to do so, I now play only as loud as is necessary to constitute a valid acoustic voice. I am neither louder nor more bellicose than is any other orchestral instrument in resort of being heard in a solo setting. I would therefore too return to a time when brass instruments grew in timbre rather than volume as they were pushed to their limits. In such forums might we recover the textures the composers intended, to liberate the orchestra from the tyranny of volume, and realize the Strauss'ian sunrise as a things of quality, resplendent, transparent, and complex in experience, rather than of quantity, massive, inert and slow-witted. Tim
Hello again I am of course aware ,and guilty, of the relative absurdity of someone commenting on their own comment, but it is no more absurd than is someone who 'can't' (for I have not yet proven otherwise) commenting on the performance of someone who 'can', which is a sin I also commit here, but that's just my point. My issue is definitely not with the way Nitzan plays, that would be absurd. Rather it is with the way that 'all' great orchestral trombonists trombonist play after a fashion. It is 'this fashon' that I think should be revisited and corrected to bring modern trombone playing more in line with the conventions governing other wind instruments, orchestral or otherwise, before it goes any further. Sadly, the trend seems to be going the other way. But people of Nitzan's stature have the authority, and therefore too the responsiblity to try. It has already become the case that top commercial players are having to adopt larger and larger equipment in order to bring their sound more in line with that of contemporary orchestral players. However, there is so much manipulation of tone in the studio, that it is almost pointless serving up and smorgasbord of thick orchestral trombone excess, if the engineer is going to thin it out in the mix so that...so that...what? So that their is again light, transparency, and space in the texture, of the type that was once party to a section made up of 3 different sized instrument, and such as is necessary to reveal other things going on in the orchestration. One wonders why the rest of the orchestra bothers to keep playing during the brass tuttis in Bruckner, Wagner, Strauss, or Mahler anymore (unless they are using 'true' German style instruments); their contribution cannot be accounted in any meaningful way any more; just ask any woodwind player. If any of today's top principle trombonists adopted the equipment 'I' would have them play on, such that they sounded more like the 'tenor' voiced trombone whose name they carry, rather than a baritone voiced sound they now aspire to, I feel that a composers true orchestrational textures would be recovered. Of course they would be fired; so this would have to happen before orchestras as we know them disappear from the musical landscape anyway, but that's another concern. Have you actully listened to how light and lyrical a real tenor voice is? Listen to Ian Partrige singing something written for Schuber for tenor, th-cam.com/video/4AUlXiNSdi0/w-d-xo.html as opposed Dietric Fischer-Dieskau singing the same, th-cam.com/video/XLkd1NIw78A/w-d-xo.html The tenor trombone is meant to link the trombone section to the trumpet section, and sit effortlessly on top of the section wthout being subsumed by its own euphony into the section. But today that no longer happens effectively. That's why trombones once had the bores they did. Volume not withstanding, have you actually heard a 'live' trombone section (though they don't always record well) with a small bore tenor on top, and medium/medium-large bore tenor in the middle (bass trombones have gotten too big too) contextually embedded in a fine orchestra? I did in Germany in the 70's and I fell in love with the honesty of it. This is of course just one of many more reasons why I stopped playing orchestrally: I would not have enjoyed success! By which I mean, if I had managed to win an audition (of the type that was worth winning), I would surely not have been happy fulfilling the contemporary expectation that came with that success, because I didn't believe in the paradigm. I would likely have irritated the members of my section who 'had' drunk the Kool Aid; which is of course, with but a few exceptions, how anyone comes to win an audtion. BUT, it is interesting to note that many great players who have since retired, have come forward and shared with me that they too have long harbored, if however only privately, a desire to be more actively involved in the administration of their own instruments musical conduct. Maybe a new breed of 'solo' rather than 'principle' trombone, such as are now being declared, will venture with that title the strength of their own convictions, and remake the trombone into a valid musical voice in the orchestra, such that it 'truely' wins the respect of 'non' brass players in the orchestra, because it has finally elected transcended the limitations of its subscribed instrumental performance paradigm. Tim
Hello, Schumann is always a good go to. If you like these, I use to play Schumann's Drei Fantasiestucke Op. 73 for Clarinet and Piano th-cam.com/video/45GGWdnKgZ4/w-d-xo.html on trombone back in the day; it use to piss everyone off, because as trombonists we were supposed to know our place in the back row. Its nice to see trombonists everywhere stepping out from the shadows these days as equal members of an orchestral family to serve as 'solo' rather than just principle trombonists. Wow! They are even allowed vibrato these days. Progress! Tim
Hello, Sorry I missed this. If you are a traditional trombone player, which is to say someone who has been invested, or infected (by another trombonist) with the 'trombonists' rigid performance paradigm, then you will find Schumann, or any 'real' music challenging; which is exactly why you should play these pieces. However, Nitzan makes these pieces sound easier than they are, and the Fantasiestucke is quite a bit harder again. The phrase length and interval skips must be executed without any sense of break in the line, as it were a clarinetist simply depressing the octave key. No one cares how hard it is to execute these pieces on a brass instrument, so if that is your goal don't play them, and if you require compassionate consideration to excuse a failure to make music, play them, but don't 'perform' them. If you love the music, follow that enthusiasm and let the music carry you through the technique. Do it properly and you won't even notice that you are effortlessly negotiating very difficult phrases. Tim P.S. Unless you have an orchestral obligation to service, as does Nitzan, there is no need to play them this loud. In Schumann, the piano is an equal partner. In this performance, the pianist is playing as if they were accompanying a clarinet and never rises to the level of support that Nitzan's orchestral voice requires.
@@silent_assassin643 Hello, Having recently returned to playing, I now have amendments to make to my initial comment. I now play all 3 of the Fantasies and the Romances as my daily strength builder. And while it is true that the Fantasies are technically harder to play musically (played at the correct speed to qualify them as fantasies), I find now that the Romances require greater endurance, which is something I was not conscious of when I played these as a professional daily driven to copious strength and endurance. That being said, they both prove the practice of building technique through quality music. It should be said that in practice, these pieces should be performed first by eliminating obligation of instrument specific technical challenges. Make no concessions to instrumental habit, convention, or physics. Execute these pieces as if you were playing a clarinet musically; an instrument which suffers none of the supposedly innate awkwardness that is peculiar to the trombone in particular, or to brass instruments in general. THEN...include the interpretive nuance that only the trombone can realize (still minus the impediment of general brass physics) as a function of its slide, to prove that it is an asset not a liability. This is the final stage of instrumental and musical...legitimacy, which is something that the trombone has never enjoyed for having been failed by previous generations of performers, and therefore too composers who decided NOT to write for the instrument for its lacking...sufficient musical championing. Unfortunately, the tendency of brass players to carry their orchestral obligation to play loud into solo realms too much predominates in the minds of those best placed technically to service the demands of music, which travels where it must without regards for difficulty of execution. Having the luxury to do so, I now play only as loud as is necessary to constitute a valid acoustic voice. I am neither louder nor more bellicose than is any other orchestral instrument in resort of being heard in a solo setting. I would therefore too return to a time when brass instruments grew in timbre rather than volume as they were pushed to their limits. In such forums might we recover the textures the composers intended, to liberate the orchestra from the tyranny of volume, and realize the Strauss'ian sunrise as a things of quality, resplendent, transparent, and complex in experience, rather than of quantity, massive, inert and slow-witted. Tim
Beautifull sound. Wow.
What an absolutely killingly beautiful sound! WOW!
מדהים. מרגש מאוד!! צליל שמיימי ומקסים ומוסיקליות לא מהעולם הזה. בראבו!!
Nitzan's playing is beyond extraordinary...I've NEVER heard such incredible sound from a trombone...get a chance to hear him live sometime...he will blow you away, not to mention it is hard not to tear up, its that good.
Schumann didn't care much for singers until he lost his piano playing ability, then he turned to writing songs, It is so delightful to hear his music on trombone being sung so beautifully and with such grandeur. Great playing. I cant get enough .
Schumann may as well have composed this set for the trombone - amazing!
Um som maravilhoso fraseado primoroso sem arrobos de vituosidade barata,um exelente musico antes de tudo,Um trombonista que engrandece o nosso instrumento,BRAVO Nitzan Haroz!!!!!!.
Mr. Haroz's playing is simply beautiful. I wish there were more videos of him on Face Book.
Wow, I am amazed!
beautiful playing and nuance
Beautiful ! Thank you
i cant believe that trombone can sing like this..wow
Tone in the high register is just insane
Qué sonido tan brillante!
Lindas melodias e um som incrível!
0:06 No. 1. Nicht schnell
3:22 No. 2. Einfach, innig
7:18 No. 3. Nicht schnell
amazing😆
Your sound is my ideal!
sweet, glossy, and powerful sound.
Very nice! it is a wonderful piece played by great trombonist, isnt'it?
Great playing!
What are timbre! Amazing) please playmore lyrical pieces
Nitzan Haroz Chris Martin
"Colors of Philadelphia"
Great! Works amazing on the trombone, especially if you play like that! :)
Impressive! But is the sound a little bit aggressive?
Who is the one idiot who checked dislike?
Nitzan needs to record many more solos. He (and the rest of the trombone section) is often the reason for me going to the Philadelphia Orchestra!
verry veryy goood friends
I have a question for those who voted down .
Based on what assessment did you vote down ? Please , argument it . Thank you
this dude sounds like a god
I didn't vote down, but only because I appreciate what's involved in playing these pieces, even if only after this fashion. I'll wager that no one came here to listen to this who wasn't an aspiring amateur trombonist who came here (and stayed) looking to be impressed; which is of course your educational privilege.
And you should be impressed! Nitzan is by evidence a very fine orchestral trombonist, and embedded in that context these performances prove an extension of his ability beyond that forum. My point is that, in pursuit of that musical extension, you realize the limitation of the existent trombone paradigm that he particpates in.
I'm certain that no effort was made by Nitzan to attempt the things that 'I' find lacking in trombone performance. Nitzan is trained to, and has mastered the paradigm that 'defines' orchestral trombonism. But as a result, at no point was I ever able to forget that I was listening to trombonist, and an orchestral one at that.
That is of course both a success and, from the perspective I am proposing, a failure. There is a reason why instrumental specialists do not, in a general sense, listen 'across' instrumental boundaries, as described by the instrument itself, and 'down', as described by an occult hierarchy that exists within the orchestra.
In this case, sufficient trombone awkwardness remained and was communicated through the music, weighing it down and preventing it from taking flight. I wanted to hear music divorced from a required accounting of the instrumental muscularity and virtuosity which is only 'thought' necessary to trombone performance.
You don't get a sense that these pieces are difficult when you hear them played on the oboe, clarinet, or violin, nor should you , nor need they, for that matter, 'sound' difficult on the trombone except that there is an way, call it masculine, of coming 'at' or performing on trombone that is self-forgiving and unnecessarily heavy-handed.
In the most superficial sense, I think that these melodies would sound less...forced and strident if they were played on a smaller trombone and mouthpiece, with less volume, but more intimacy , lyricism, and nuance. Much in the way that, IMO, song cycles written for tenor voices, sound...wrong sung by baritones.
[Note: I will defend myself hear by saying, Yes, that does mean that I do not like the timbre of Dietrich Fischer- Dieskau (often regarded the last centuries greatest proponent of lieder) singing lieder either, and would much prefer to listen to Ian Partridge in this repertoire. My point is, 'where has the tenor gone from tenor trombone?
To get a better sense of what I mean, listen to the commercial trombonist Alan Kaplan play any ballad. Listen to th-cam.com/video/FWXgTGF6xn0/w-d-xo.html and read my post there for a more complete explanation. Then listen to th-cam.com/video/bI3K-Ir_MWU/w-d-xo.html and read my post there for an explanation of true virtuosity.
Nitzan is, by this accounting, an extremely fine orchestral trombonist. I can not do what he does as well as he does, principally now because I don't want to, and secondarily in the past because I couldn't and didn't know any better anyway.
Similarly, he would not want to do what I do (nor could he hold his position doing so), which is to say, play a trombone as if it were not a trombone, in order to transcend the paradigm; a trombone, with no obligation to suffer the awkwardness caused by overreaching the acoustic limits of both instrument and body.
I have written at length elsewhere on what I believe to be the failing of the modern orchestra, and brass sections in general, which have gotten louder and louder, as a byproduct of chasing the prevailing paradigm, while orchestras themselves have not. Please search them out elsewhere, and then...
Follow the extension of my reasoned line of inquiry, and then you decide if I'm damning Nitzan with faint praise or making a point that brass instruments, and trombone in particular, have lost there way, although not so to its champions in practice (Nitzan) and principle (me).
Tim
Where can I get paid to turn pages
Nitzan haroz!!!!!!!!!!!
3:25 2악장
Nitzan Bravo.where can I order this romances?please send me info about sites and exact arrangement of this piece.thank you
expertssssss
Hello,
Having recently returned to playing, I now have amendments to make to my initial comment a year ago. I now play all 3 of the Fantasies and the Romances as my daily strength builder. And while it is true that the Fantasies are technically harder to play musically (played at the correct speed to qualify them as fantasies; the clarinetist I posted fails in that one regard only), I find now that the Romances require greater endurance, which is something I was not conscious of when I played these as a professional daily driven to copious strength and endurance. That being said, they both prove the practice of building technique through quality music.
It should be said that in practice, these pieces should be performed first by eliminating obligation of instrument specific technical challenges. Make no concessions to instrumental habit, convention, or physics. Execute these pieces as if you were playing a clarinet musically; an instrument which suffers none of the supposedly innate awkwardness that is peculiar to the trombone in particular, or to brass instruments in general. THEN...include the interpretive nuance that only the trombone can realize (still minus the impediment of general brass physics) as a function of its slide, to prove that it is an asset not a liability.
This is the final stage of instrumental and musical...legitimacy, which is something that the trombone has never enjoyed for having been failed by previous generations of performers, and therefore too composers who decided NOT to write for the instrument for its lacking...sufficient musical championing. Unfortunately, the tendency of brass players to carry their orchestral obligation to play loud into solo realms too much predominates in the minds of those best placed technically to service the demands of music, which travels where it must without regards for difficulty of execution.
Having the luxury to do so, I now play only as loud as is necessary to constitute a valid acoustic voice. I am neither louder nor more bellicose than is any other orchestral instrument in resort of being heard in a solo setting. I would therefore too return to a time when brass instruments grew in timbre rather than volume as they were pushed to their limits. In such forums might we recover the textures the composers intended, to liberate the orchestra from the tyranny of volume, and realize the Strauss'ian sunrise as a things of quality, resplendent, transparent, and complex in experience, rather than of quantity, massive, inert and slow-witted.
Tim
Hello again
I am of course aware ,and guilty, of the relative absurdity of someone commenting on their own comment, but it is no more absurd than is someone who 'can't' (for I have not yet proven otherwise) commenting on the performance of someone who 'can', which is a sin I also commit here, but that's just my point. My issue is definitely not with the way Nitzan plays, that would be absurd. Rather it is with the way that 'all' great orchestral trombonists trombonist play after a fashion. It is 'this fashon' that I think should be revisited and corrected to bring modern trombone playing more in line with the conventions governing other wind instruments, orchestral or otherwise, before it goes any further. Sadly, the trend seems to be going the other way. But people of Nitzan's stature have the authority, and therefore too the responsiblity to try.
It has already become the case that top commercial players are having to adopt larger and larger equipment in order to bring their sound more in line with that of contemporary orchestral players. However, there is so much manipulation of tone in the studio, that it is almost pointless serving up and smorgasbord of thick orchestral trombone excess, if the engineer is going to thin it out in the mix so that...so that...what? So that their is again light, transparency, and space in the texture, of the type that was once party to a section made up of 3 different sized instrument, and such as is necessary to reveal other things going on in the orchestration.
One wonders why the rest of the orchestra bothers to keep playing during the brass tuttis in Bruckner, Wagner, Strauss, or Mahler anymore (unless they are using 'true' German style instruments); their contribution cannot be accounted in any meaningful way any more; just ask any woodwind player. If any of today's top principle trombonists adopted the equipment 'I' would have them play on, such that they sounded more like the 'tenor' voiced trombone whose name they carry, rather than a baritone voiced sound they now aspire to, I feel that a composers true orchestrational textures would be recovered. Of course they would be fired; so this would have to happen before orchestras as we know them disappear from the musical landscape anyway, but that's another concern.
Have you actully listened to how light and lyrical a real tenor voice is? Listen to Ian Partrige singing something written for Schuber for tenor, th-cam.com/video/4AUlXiNSdi0/w-d-xo.html as opposed Dietric Fischer-Dieskau singing the same, th-cam.com/video/XLkd1NIw78A/w-d-xo.html The tenor trombone is meant to link the trombone section to the trumpet section, and sit effortlessly on top of the section wthout being subsumed by its own euphony into the section. But today that no longer happens effectively. That's why trombones once had the bores they did. Volume not withstanding, have you actually heard a 'live' trombone section (though they don't always record well) with a small bore tenor on top, and medium/medium-large bore tenor in the middle (bass trombones have gotten too big too) contextually embedded in a fine orchestra? I did in Germany in the 70's and I fell in love with the honesty of it.
This is of course just one of many more reasons why I stopped playing orchestrally: I would not have enjoyed success! By which I mean, if I had managed to win an audition (of the type that was worth winning), I would surely not have been happy fulfilling the contemporary expectation that came with that success, because I didn't believe in the paradigm. I would likely have irritated the members of my section who 'had' drunk the Kool Aid; which is of course, with but a few exceptions, how anyone comes to win an audtion.
BUT, it is interesting to note that many great players who have since retired, have come forward and shared with me that they too have long harbored, if however only privately, a desire to be more actively involved in the administration of their own instruments musical conduct. Maybe a new breed of 'solo' rather than 'principle' trombone, such as are now being declared, will venture with that title the strength of their own convictions, and remake the trombone into a valid musical voice in the orchestra, such that it 'truely' wins the respect of 'non' brass players in the orchestra, because it has finally elected transcended the limitations of its subscribed instrumental performance paradigm.
Tim
Does anyone know what kind of mouthpiece he uses?
From his pictures it looks like a Greg black?
Hello,
Schumann is always a good go to. If you like these, I use to play Schumann's Drei Fantasiestucke Op. 73 for Clarinet and Piano th-cam.com/video/45GGWdnKgZ4/w-d-xo.html on trombone back in the day; it use to piss everyone off, because as trombonists we were supposed to know our place in the back row. Its nice to see trombonists everywhere stepping out from the shadows these days as equal members of an orchestral family to serve as 'solo' rather than just principle trombonists. Wow! They are even allowed vibrato these days. Progress!
Tim
would you say this is a hard song for someone just starting college?
Hello,
Sorry I missed this. If you are a traditional trombone player, which is to say someone who has been invested, or infected (by another trombonist) with the 'trombonists' rigid performance paradigm, then you will find Schumann, or any 'real' music challenging; which is exactly why you should play these pieces. However, Nitzan makes these pieces sound easier than they are, and the Fantasiestucke is quite a bit harder again. The phrase length and interval skips must be executed without any sense of break in the line, as it were a clarinetist simply depressing the octave key. No one cares how hard it is to execute these pieces on a brass instrument, so if that is your goal don't play them, and if you require compassionate consideration to excuse a failure to make music, play them, but don't 'perform' them. If you love the music, follow that enthusiasm and let the music carry you through the technique. Do it properly and you won't even notice that you are effortlessly negotiating very difficult phrases.
Tim
P.S. Unless you have an orchestral obligation to service, as does Nitzan, there is no need to play them this loud. In Schumann, the piano is an equal partner. In this performance, the pianist is playing as if they were accompanying a clarinet and never rises to the level of support that Nitzan's orchestral voice requires.
thank you
this helped me understand just how hard these songs really are thank you so much
@@silent_assassin643
Hello,
Having recently returned to playing, I now have amendments to make to my initial comment. I now play all 3 of the Fantasies and the Romances as my daily strength builder. And while it is true that the Fantasies are technically harder to play musically (played at the correct speed to qualify them as fantasies), I find now that the Romances require greater endurance, which is something I was not conscious of when I played these as a professional daily driven to copious strength and endurance. That being said, they both prove the practice of building technique through quality music.
It should be said that in practice, these pieces should be performed first by eliminating obligation of instrument specific technical challenges. Make no concessions to instrumental habit, convention, or physics. Execute these pieces as if you were playing a clarinet musically; an instrument which suffers none of the supposedly innate awkwardness that is peculiar to the trombone in particular, or to brass instruments in general. THEN...include the interpretive nuance that only the trombone can realize (still minus the impediment of general brass physics) as a function of its slide, to prove that it is an asset not a liability.
This is the final stage of instrumental and musical...legitimacy, which is something that the trombone has never enjoyed for having been failed by previous generations of performers, and therefore too composers who decided NOT to write for the instrument for its lacking...sufficient musical championing. Unfortunately, the tendency of brass players to carry their orchestral obligation to play loud into solo realms too much predominates in the minds of those best placed technically to service the demands of music, which travels where it must without regards for difficulty of execution.
Having the luxury to do so, I now play only as loud as is necessary to constitute a valid acoustic voice. I am neither louder nor more bellicose than is any other orchestral instrument in resort of being heard in a solo setting. I would therefore too return to a time when brass instruments grew in timbre rather than volume as they were pushed to their limits. In such forums might we recover the textures the composers intended, to liberate the orchestra from the tyranny of volume, and realize the Strauss'ian sunrise as a things of quality, resplendent, transparent, and complex in experience, rather than of quantity, massive, inert and slow-witted.
Tim
Where can I buy the music sheet of this song?
cherryclassics.com/collections/solos/trombone
Quinten 730 it's free in IMSLP
Му веst wishes ! - yours , Jan Freidlin
Does anybody what his setup is?
Jose Alvarado I believe it's an Edwards trombone and Greg Black "Nitzan Haroz" mouthpiece.
@@trombonstya The spesifications, is it gold brass bell and nickel ligth weight slide? It sounds like that kind of combinbation.
@@tomnormannnilsen2770 Yellow brass bell
lyrical player
Now principal trombonist of the LA Phil.
Yeah, he was. Now he is back in Philly.
He left for L.A.
0e