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Music Lane It's all about the music, dude! Sit down, relax and listen to some tunes. |
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Music Lane It's all about the music, dude! Sit down, relax and listen to some tunes. |
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In Reply to: If you weren't quite so parochial in your set view of trombone playing. . . posted by Chris from Lafayette on September 14, 2016 at 21:24:19:
Not easy to compare dynamics and balance on Youtube but I cued up the first section of 3 performances, Vanska, Mravinsky and the King Of Shmaltz, Bernstein.Vanska is all about the crescendo building to the Trombone solo, Mravinsky has his strings forcefully digging it out at a much faster tempo which serves to emphasize the dynamics but leaving less room for the drama of the crescendo than Vanska. Bernstein apparently believes Norse music must be glacial and his idea of the all important crescendo is to go from mf to f.
In all three, the Trombone is played in the Germanic style, more legato than British or American orchestras which somewhat obscures the note changes. Mravinskys Russian also has the typical added vibrato which further muddies things to my ear with my Western training.
Bernstein and the VPO let's forget about.
For the all important opening and lead in to the Trombone solo: I really like the opening strings for pace and dynamics of the Mravinsky and kind of in awe at how he still gets a dramatic full orchestra crescendo from there. Vanska has the lightest and loveliest string tone and takes his time building the dynamic and tonal blocks that create the best crescendo by far.
Both are worthy performances and I have no favorite except the Swedish Trombonist far better presents his part as the exclamation point needed for the 5 minute sentence leading up to it.
Okay, so now I ask, what makes this work a symphony and not a tone poem?
Edits: 09/15/16
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Follow Ups
- RE: In this corner, Mravinsky...... - kitch29 06:56:49 09/15/16 (1)
- "what makes this work a symphony and not a tone poem?" - Chris from Lafayette 07:09:33 09/15/16 (0)
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