Howard, where you there when Aubrey Brain played the Brandenburg ? Surely not. Why do you know that they did not switch the first half of M: 6, M: 14 & M: 30 in the Trio II ?? Nobody can hear the difference if the first horn plays e2-c2 -- c3 or just g2-g2-c3 & the 2nd horn takes over playing e2-c2-e2-c2 ?? Well, the 2nd must imitate the first horn, which he or she should do anyway in this pice to make up a nice horn duo.
And a peashooter was much different in the sound than modern Bb-horns. Would anybody dare doing Brandenburg in an audition using single F ???? No way, because the sound would never match the piece as does a Bb-horn. I see no reason for the Brandenburg as an audition piece except for a professional chamber orchestra where it could be on the program ten times a year perhaps, but elsewhere - ??? Nonsense. To prove endurance ? There are better pieces: Don Juan, Heldenleben, Domestica (for a very big orchestra), - This is not the main criteria. Playing a nice "cantabile" solo is more important to ask in an audition(Tschai 5, Nocturno, Oberon, etc.). These takatake Baroque Pieces are showing nothing regarding required musicality. We have a good number of super safe horn player candidates, but we are missing the very special personal horn tone AND the real MUSICALITY, which we have to explore from the candidates. A musicality which does not need a CD or DVD to get an idea about a certain piece never heard before. If the candidate, the future new player understands to make music of a piece, he or she never saw or heard before, well, if we get this as a result of the audition, we can hire that candidate. Not if he misses a note by accident, one note within the whole audition. That is also a NO-criteria. The audition Jury has to be fair, absolutely fair ! That matters. ####################################################################################### Am 23.02.2010 um 19:54 schrieb Howard Sanner: > Quoting David Thompson: > >> >> Nelson Dalley wrote: >>> Nobody in the audience knows the difference when playing >>> the revised version >> >> Unfortunately, that is not at all true, as witnessed by the fact that the >> original poster clearly noticed this little bit of cheating going on - and >> not from a live performance where visual cues might help, but from a >> recording they were hearing over the internet. >> >> The reality is that it is very obvious when players do this - we CAN hear >> lines so it is not legitimate to say that it adds up to the same result - >> and honestly I have never understood why people felt it was either kosher or >> really all the beneficial to do so. If you are playing appropriate >> equipment for Brandenburg 1, and generally have the technical command to be >> comfortable performing the work as a whole, those couple of octaves will not >> be the greatest challenges in the work. > > Amen, brother! > > This lick is a great example of the difference between playing the > notes Bach wrote and playing the music Bach wrote. Besides, if Aubrey > Brain could play it as written on a peashooter with a B-flat crook in > the days before tape editing, so can anyone else who has any business > playing the work in the first place. > > Howard Sanner > Who will never be in the business of Brandenburg 1 > [email protected] > > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
