Playing everything on the B-flat is a lost art, but some players could still do it. Up until the late 1950's most orchestral players in the US played everything on the B-flat, even including Bach! The great Frank Kaderabek, who passed away this week, did that as principal trumpet of the Dallas Symphony at age 23! This repertoire is identified with the timbre, response and tessitura of the C trumpet, and it seems out of character to play it on a B-flat. You are right that the range and technique are not prohibitive for playing it on the B-flat. There will be tricky fingerings on either instrument. C players are mostly too lazy to want to transpose it on the B-flat, and they identify it with the sound and feel of the C. Take the time to learn it up a step on your B-flat. That will teach you many things!
This piece is really confusing to me, in the first movement, it has a gorgeous Chord progression in the very beginning but then my interest for the piece sorta dies away the longer I listen to it.
I have played this piece on recital. For the trumpet player, it is an exciting challenge - for the orchestra or piano, not so much. There is a video on RUclips with David Bilger playing it well, and the Philadelphia Orchestra members mostly thinking about what bar they're going to after the concert! I think it needs more supportive material to be a completely satisfying work. It is also a very segmented work which lacks an engaging overarching, connective formal structure. I understand your feelings.
![Henri Tomasi - Fanfares Liturgiques for Brass, Percussion, Soprano and Choir (1947) [Score-Video]](http://i.ytimg.com/vi/q4r8STnxU98/mqdefault.jpg)
The Nocturne is utterly transformative!
Reminds me of some Jphn Barry Bond music
stellar playing
Timestamps for the movements:
0:04
7:38
12:31
Xie Xie!
Thank you! Please do the bassoon concerto also
Sûrement le concerto pour trompette le plus séduisant avec ceux de Jolivet.
I have no idea why people hate this concerto. It’s beautiful.
It has good ideas but it's development can't be compared to some really good pieces from the same period of history
It simply isn't that good
Same, maybe they just can't play it well
@@alexribeiro570 Like which pieces? Tomasi is a really good composer
@@musicfriendly12 like Stravinsky for example
10:03
I will say this is performed so beautfiully, but where was the dynamic control? Sometimes I felt like the crescendos/decrescendos weren't there haha.
👍👍👍👏👏👏🎺
the licc at 12:54
lol i didn't even notice first time through wow
what is a licc?...
@@TempodiPiano ruclips.net/video/krDxhnaKD7Q/видео.html
Nice catch, didn't notice that
Is there a transposed version for B-Flat Trumpet?
Jerry Mejias it would be a nightmare to play this on b flat
@@Diego-cx2nq oh my god imagine🤣🤣
@@Diego-cx2nq It's only a tone up, explain why it would be that much harder, you just need a bit more range
@@musicfriendly12the range isn't the issue it's the fingerings lol
Playing everything on the B-flat is a lost art, but some players could still do it.
Up until the late 1950's most orchestral players in the US played everything on the B-flat, even including Bach!
The great Frank Kaderabek, who passed away this week, did that as principal trumpet of the Dallas Symphony at age 23!
This repertoire is identified with the timbre, response and tessitura of the C trumpet, and it seems out of character to play it on a B-flat. You are right that the range and technique are not prohibitive for playing it on the B-flat. There will be tricky fingerings on either instrument. C players are mostly too lazy to want to transpose it on the B-flat, and they identify it with the sound and feel of the C. Take the time to learn it up a step on your B-flat. That will teach you many things!
This piece is really confusing to me, in the first movement, it has a gorgeous Chord progression in the very beginning but then my interest for the piece sorta dies away the longer I listen to it.
You are insane
Lee el libro de Coplan acerca de cómo escuchar música
I have played this piece on recital. For the trumpet player, it is an exciting challenge - for the orchestra or piano, not so much. There is a video on RUclips with David Bilger playing it well, and the Philadelphia Orchestra members mostly thinking about what bar they're going to after the concert! I think it needs more supportive material to be a completely satisfying work. It is also a very segmented work which lacks an engaging overarching, connective formal structure. I understand your feelings.
0:36
so good man so so sos os os os os ols ols osl ols osl os os os oso s so so os good