Found this by chance while looking for Hindemith organ sonatas (VERY serious organ nerd stuff!) on a very wet, cold unspringlike evening in Cornwall. UMich - you were wonderful!
WOW!!! Fantastic performance by this ensemble! Strong from top to bottom (awesome Contrabassoon:). Horns, bravo!!! Flute, bassoon, everyone, well done. March tempo, as noted by others a bit on the slow side, BUT, precision and articulation were flawless throughout. So who am I to say anything but, great job!
The March was a perfect tempo. If you don’t think so, you were simply conditioned incorrectly to perform it under too much excitement with your director. I’ve not heard a better performance… this was how it was meant to be played & I have spoken. …Had to come back after the end… so delicious. I suppose this is my standing ovation… horns magnificently surgical… fuckin wow man.
Not uncommon. Depends on the conductor's preference. If the picc player doubles on flute, it may be the case they happen to be last chair in the section. Regardless of that, the conductor may like the sound better in that spot, perhaps just for this piece or for the majority of performances. Putting the piccolo in the left-most chair would produce a more pronounced, edgy sound, whereas putting it a few chairs into the seating acts as a defacto mute that takes some of the edge off the sound.
support what Mike has said below, sometimes you want to take the edge off and not have the Picc pointing out towards the audience. I now tend to put my Principal Flute in the middle next to the Principal Oboe so that they can work together, especially when doing Orchestral transcriptions.
Nice to hear this work done for band. Tempos were OK but there were some questionable balances, resulting in some important motives and melodic elements having difficulty in coming through. In the second movement I got lost several times because of this. And in the third movement, on the reprise, the main melody must come forward, above the flute arabesques, which it did not. in general, the last movement came off the best.
well played...and as others have said.. a bit slower on the all the movements than I have ever heard However...not sure that the slowless didnt take away something from the flute obligato in the third movement..? The march was just plain too slow The whole piece was played very accurately though and tone quality was great
You want speed with that precision? Then listen to Ormandy and the Philly. The genuine challenge here is maintaining the pace in each movement. Hat's off to the band for that.
@@johcafra Actually...I was really referring to the march. And yes I have other universities play it at tempo AND precisely...Eastman Winds...University of Houston to name a couple
@@turnne...and I'd meant Szell and the Cleveland. When I need a benchmark I reach out for Sony Classical - LSBK 53258, on which Ormandy and the Philly contribute their performance of William Walton's Variations On a Theme By Hindemith (no kidding).
@@johnfraraccio99 Quite honestly...you really cant compare a wind ensemble performance of a transcribed piece to the original orchestral version because they will be different. You should benchmark them separately with other groups of the same type. As I said before ...this march has been done many times by excellent wind groups such as the Eastman winds, University of Houston and West Texas A&M. . You would be well served to listen to a Lake Highlands high school version of it as well that is on You Tube
Found this by chance while looking for Hindemith organ sonatas (VERY serious organ nerd stuff!) on a very wet, cold unspringlike evening in Cornwall. UMich - you were wonderful!
Man the Bassoon section and Contrabassoon at 2:59 ❤
WOW!!! Fantastic performance by this ensemble! Strong from top to bottom (awesome Contrabassoon:). Horns, bravo!!! Flute, bassoon, everyone, well done. March tempo, as noted by others a bit on the slow side, BUT, precision and articulation were flawless throughout. So who am I to say anything but, great job!
2nd oboe loving every minute. lucky dude to be sitting in front of all those amazing low reeds
Lovely and compelling interpretation of one of my my favorite pieces of classical music of all time. Two thumbs up!
BRAVO! I will be sharing this with my band students this week as part of distance learning. Principal oboist - wow!
The Turando(t) Scherzo is PERFECTION!
Wonderful performance! The tempo is a bit slower than many other performances but the result is a very majestic sound!
Full disclosure: just checked the score the the final movement is scored at 80 .. Haithcock takes this at about 76.
Mindblowingly delicious performance.
Bass Saxophone FTW!
March is at a perfect tempo. No room for error! :-)
The March was a perfect tempo. If you don’t think so, you were simply conditioned incorrectly to perform it under too much excitement with your director. I’ve not heard a better performance… this was how it was meant to be played & I have spoken.
…Had to come back after the end… so delicious. I suppose this is my standing ovation… horns magnificently surgical… fuckin wow man.
17:08 Movement 4
The oboist makes it look so easy
Thank
9:55
Strange ! Why is the piccoloist at the right ?
Not uncommon. Depends on the conductor's preference. If the picc player doubles on flute, it may be the case they happen to be last chair in the section. Regardless of that, the conductor may like the sound better in that spot, perhaps just for this piece or for the majority of performances. Putting the piccolo in the left-most chair would produce a more pronounced, edgy sound, whereas putting it a few chairs into the seating acts as a defacto mute that takes some of the edge off the sound.
support what Mike has said below, sometimes you want to take the edge off and not have the Picc pointing out towards the audience. I now tend to put my Principal Flute in the middle next to the Principal Oboe so that they can work together, especially when doing Orchestral transcriptions.
Nice to hear this work done for band. Tempos were OK but there were some questionable balances, resulting in some important motives and melodic elements having difficulty in coming through.
In the second movement I got lost several times because of this.
And in the third movement, on the reprise, the main melody must come forward, above the flute arabesques, which it did not.
in general, the last movement came off the best.
They're good
19:02-19:38
20:22-20:42
17:03-21:52
well played...and as others have said.. a bit slower on the all the movements than I have ever heard
However...not sure that the slowless didnt take away something from the flute obligato in the third movement..?
The march was just plain too slow
The whole piece was played very accurately though and tone quality was great
You want speed with that precision? Then listen to Ormandy and the Philly. The genuine challenge here is maintaining the pace in each movement. Hat's off to the band for that.
@@johcafra
Actually...I was really referring to the march. And yes I have other universities play it at tempo AND precisely...Eastman Winds...University of Houston to name a couple
@@turnne...and I'd meant Szell and the Cleveland. When I need a benchmark I reach out for
Sony Classical - LSBK 53258, on which Ormandy and the Philly contribute their performance of William Walton's Variations On a Theme By Hindemith (no kidding).
@@johnfraraccio99
Quite honestly...you really cant compare a wind ensemble performance of a transcribed piece to the original orchestral version because they will be different. You should benchmark them separately with other groups of the same type. As I said before ...this march has been done many times by excellent wind groups such as the Eastman winds, University of Houston and West Texas A&M. . You would be well served to listen to a Lake Highlands high school version of it as well that is on You Tube
1:06
1:09
Talk about ruining an iconic piece by playing (the march) soooooooo slooooooooooow. Could hardly listen.
I'm pretty sure his musical knowledge outshines yours by an order of at least ten thousand.
7:05
2:36