![]() More than likely he was writing for someone playing a bass trombone pitched in F which would make this lick most playable. To his credit, Bartók probably knew what he was doing when he mocked Shostakovich. It amounts to thirty minutes of nonstop playing in the upper register.Įxcerpt from the third trombone part of the Fourth Movement of Bartók’s “Concerto for Orchestra.”Ĭan’t do it (for reasons I’ll explain in a bit) but ugly little things like this keep turning up in my parts, maybe because one popular orchestration book calls it “perfect.” (Cough, Adler, cough.) Like the other Mozart choral works the alto trombone doubles the alto voices, only in this case more exactly. Knowing about the piece earlier would have also have better prepared me for the high note-athon. In hindsight, I’m happy I got to experience those lesser known works as it gave me a chance to learn each composer’s style beyond the standard repertoire.) It upset a lot of students who wanted to get to know the warhorses better. Instead of performing Britten’s War Requiem we played his Sinfonia da Requiem instead of Brahms’s Ein Deutsches Requiem we played Nänie and Alto Rhapsody instead of a Stravinsky ballet we played Symphony of Psalms. (Side note: during my first three years in school at Eastman the orchestra director insisted on programming less significant works from the repertoire. It’s a fine piece that obviously contains ideas Mozart would use in his Mass in C Minor and his Requiem. Actually prior to this week I didn’t know it existed. It was my first time playing this Mozart. It’s an amazing exercise in concentration, especially since percussion is not something I’m accustomed to performing in concert. ![]() Our performance was forty minutes long… I had the honor of playing the eighth note pulse the entire time. Clay from Third Coast played some improvised percussion that I’ll sorely miss in the future. We set up on some couches and attracted a decent audience. The performance was in the student union building right outside the cafeteria. The first was Terry Riley’s In C with DICE (Dickinson Improvisation and Collaboration Ensemble), a new flexible-instrumentation group at the college, and Third Coast Percussion the second was Mozart’s Vesperae Solennes de Confessore. Two performances last week and both were challenges in endurance. ![]()
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