What a delight this is! Wonderful melodies, effectively written for the instruments. I've always liked Reinecke's music, but had not heard this opus before I happened to tune in to its last movement on our local classical station today; I'm glad I got to hear it all on YT.
I love all of Reinecke’s flute works!!! He wrote beautiful flute music and I read that he wrote the flute part for the Octet specifically for Paul Taffanel.
The inspiration from Schumann and Spohr is evident. This is an excellent work and were it not for what I have heard online, I would have never discovered the romantic genius of Reineke. What a joy to hear this.
A string bass can blend nicely with a wind ensemble - I speak from experience as player and conductor. Odd balance in this delightful performance - sounds like the horn player is in the next room, or out in the corridor. Good choice perhaps!
Why, oh why would a conductor add a contrabass doubling the second bassoon most of the time. Completely alters the wind-ensemble sound. If the bass needs reinforcing, why not a contrabassoon, or a tuba?
Indeed, I've never understood why a double bass is added to the wind ensemble in these types of pieces. It's like adding a bass clarinet, contrabassoon or tuba to a string serenade.
It could be a hang-over from when contrabassoons were not as good as now, but that's going back centuries. (But I did play in an orchestra once, where the conductor added a bari sax to the cello section. The spectral signature isn't too dissimilar. Thankfully the player was a good, tasteful player. )
Adding a tuba to a strings ensemble destroys the legato in the bass which is very important. But it's absolutely common to have in wind orchestras the double basses, just because they help the compactness on the base of the harmony, which is very helpful at times. Anyway here I wouldn't use any db, because in these compositions the balance is very fragile and one should do any effort to obtain the desired effect with what the composer wrote in the score.
@@gioiafrancesco I agree to some extent about not adding tuba to strings, although I'd suggest that because tubas can (note: can) play legato, they might be too homogenous within themselves to match the slight variations in strings. We seem to agree that contrabass doesn't really belong in a woodwind ensemble, but yes, I've seen it often.
What a delight this is! Wonderful melodies, effectively written for the instruments. I've always liked Reinecke's music, but had not heard this opus before I happened to tune in to its last movement on our local classical station today; I'm glad I got to hear it all on YT.
I love all of Reinecke’s flute works!!! He wrote beautiful flute music and I read that he wrote the flute part for the Octet specifically for Paul Taffanel.
The inspiration from Schumann and Spohr is evident. This is an excellent work and were it not for what I have heard online, I would have never discovered the romantic genius of Reineke. What a joy to hear this.
A string bass can blend nicely with a wind ensemble - I speak from experience as player and conductor. Odd balance in this delightful performance - sounds like the horn player is in the next room, or out in the corridor. Good choice perhaps!
Reibeck is unknown here in Brazil
but a composer of fantastic music
Why, oh why would a conductor add a contrabass doubling the second bassoon most of the time. Completely alters the wind-ensemble sound. If the bass needs reinforcing, why not a contrabassoon, or a tuba?
In my ears, this decent double bass sounds great!
Remembers me at Dvorák's Serenade for winds, cello and double bass :-)
Indeed, I've never understood why a double bass is added to the wind ensemble in these types of pieces. It's like adding a bass clarinet, contrabassoon or tuba to a string serenade.
It could be a hang-over from when contrabassoons were not as good as now, but that's going back centuries.
(But I did play in an orchestra once, where the conductor added a bari sax to the cello section. The spectral signature isn't too dissimilar. Thankfully the player was a good, tasteful player. )
Adding a tuba to a strings ensemble destroys the legato in the bass which is very important. But it's absolutely common to have in wind orchestras the double basses, just because they help the compactness on the base of the harmony, which is very helpful at times. Anyway here I wouldn't use any db, because in these compositions the balance is very fragile and one should do any effort to obtain the desired effect with what the composer wrote in the score.
@@gioiafrancesco I agree to some extent about not adding tuba to strings, although I'd suggest that because tubas can (note: can) play legato, they might be too homogenous within themselves to match the slight variations in strings.
We seem to agree that contrabass doesn't really belong in a woodwind ensemble, but yes, I've seen it often.