I love how Ian just floats on top and doesn’t really stand out as if the 1st trombone is the main line. I prefer it to be played this way I dislike when the 1st sticks out on the high e flat. Sounds great
Every dynamic is relevant, that soft part in the start could be a FF but also PP. So everything in music is relevant as it should and thats why music is so fantastisk
@@beatryserfirmin アルトロンボーンを小型と知らずに普通のサイズのトロンボーンだと思って見たため、吹いている人が相対的に大きく(巨人に)見えた、と言う事です。恐らくアルトトロンボーンについてのジョークですよ。日本ではほとんど見る事がありません。 The person playing the alto trombone looked relatively large (a giant) because he didn't know the alto trombone was small and saw it as a normal sized trombone. Probably a joke about the alto trombone. It is rarely seen in Japan. There are Japanese orchestras that play Schumann's symphony with alto trombone, but often they don't play it as wonderfully as you do.
There are literally loads of examples across the orchestral repertoire that has things you might define as a “soli”. Brahms 1 and 4 come straight to mind. Soli refers to a section being featured. This isn’t a feature for the trombone section. They’re colour and texture within the confines of the orchestral ensemble
@@jonburton1935 It's notorious in the trombone community because of the high Ed in the first trombone part, as well as the other parts being very difficult as well(having to stay perfectly in tune/centered, smooth legato and connected, being musical, etc.), plus its a beautiful melody in the end.
I'm afraid I must quarrel: this is not only a trombone soli passage (only the horns do any sort of doubling of their music), but in fact the sound of the trombones in this opening DEFINES the color of the entire movement. Schumann has kept them in abeyance for the first three warm, open, airy movements, and then BANG there they are at the beginning of the sepulchral fourth movement, the only movement in minor, and a movement that draws on all of the associations of the trombone (going back to the Baroque) with the funereal and tragic (see Don Giovanni). It's more than a trombone soli passage--it is, in a way, the single most dramatic featuring of the section in any symphony. Only Brahms 1 gives it a run for its money.
I always love seeing alto trombone used as it should
simply fantastic, a clear understanding of the style and sound in Schumann, Tank you
Thanks!
I love how Ian just floats on top and doesn’t really stand out as if the 1st trombone is the main line. I prefer it to be played this way I dislike when the 1st sticks out on the high e flat. Sounds great
I think the same
My only complaint is that it was only 47 seconds. Wonderful!
The A-flat the second trombonist plays after 0:35 adds so much pain to the chord. It just squeezes the heartstrings so much.
Historische Aufführungspraxis👌🏿
Stunning! Such amazing playing.
Lovely stuff. I remember playing this!
I think this timbre of sound among you three is an accurate representation of the LOTR series
That was beautiful.
Thanks!
Gorgeous!
One of most favorite trombone choir part in a symphony.
Not in the original dynamic, but hey....who cares.
NOT me anyway.
One of the best interpretations of that excerpt I ever heard ❗❗❗
RESPECT Maestri ❕
Every dynamic is relevant, that soft part in the start could be a FF but also PP. So everything in music is relevant as it should and thats why music is so fantastisk
Woow
Show!!!
Maestri!
Ups... 😯😖
1番右の人を1番最初にみて、巨人が吹いてるのかと思った...
Thanks for the comment. I don‘t understand but I hope it is kind!🌸😊
がーろ says that they saw the person on the right at first and thought he was a titan
ㅋㅋㄱㅋㅋㅋ
@@beatryserfirmin
アルトロンボーンを小型と知らずに普通のサイズのトロンボーンだと思って見たため、吹いている人が相対的に大きく(巨人に)見えた、と言う事です。恐らくアルトトロンボーンについてのジョークですよ。日本ではほとんど見る事がありません。
The person playing the alto trombone looked relatively large (a giant) because he didn't know the alto trombone was small and saw it as a normal sized trombone. Probably a joke about the alto trombone. It is rarely seen in Japan.
There are Japanese orchestras that play Schumann's symphony with alto trombone, but often they don't play it as wonderfully as you do.
Shouldn't this kind of music really be played with small bore instruments?
That's what they're doing?
@@explodingsausage6576 I thought the middle one had such a giant bell....
@@Persillebalzm They’re using german horns
Who are you? The bore police???
Small bore ?
And how big do you want it to be ?😉
Wonderful, but I wish the bass trombonist would not move around so much, it distracts.
I frankly have no idea why people are so obsessed with this…
Yes,because you have no idea about,,this"
I’m talking about context…pillock. There’s just as much interest in the strings and woodwind doubling these parts. It’s actually NOT a trombone trio.
There are literally loads of examples across the orchestral repertoire that has things you might define as a “soli”. Brahms 1 and 4 come straight to mind. Soli refers to a section being featured. This isn’t a feature for the trombone section. They’re colour and texture within the confines of the orchestral ensemble
@@jonburton1935 It's notorious in the trombone community because of the high Ed in the first trombone part, as well as the other parts being very difficult as well(having to stay perfectly in tune/centered, smooth legato and connected, being musical, etc.), plus its a beautiful melody in the end.
I'm afraid I must quarrel: this is not only a trombone soli passage (only the horns do any sort of doubling of their music), but in fact the sound of the trombones in this opening DEFINES the color of the entire movement. Schumann has kept them in abeyance for the first three warm, open, airy movements, and then BANG there they are at the beginning of the sepulchral fourth movement, the only movement in minor, and a movement that draws on all of the associations of the trombone (going back to the Baroque) with the funereal and tragic (see Don Giovanni). It's more than a trombone soli passage--it is, in a way, the single most dramatic featuring of the section in any symphony. Only Brahms 1 gives it a run for its money.
That was beautiful.