Mzony

Ed,
I'm not sure if I agree with you or if I'm getting caught in symantics. One of the things that I find to be crucial in programming any musical event, is keeping the audience with you for the whole ride.
If one plays a lot of repertoire which the audience cannot relate to, it will be extremely frustrating for them...and maybe they won't stick around or return. Furthermore, they may just be overloaded...In other words, they may have no idea what they just heard...They may just fill overwhelmed and under enthused.
I'm not saying "accessible" in terms of music WE don't enjoy/respect. But giving them different colors/sounds/languages they don't understand, in combination with things they do understand is a brilliant way to build an audience.
Signed,
Mike Z.
(One without audience)

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Zony

trumpetmike

Matthew - if you are looking for something slightly more "mainstream" and Russian, you might want to check out Russian Roulette by Paul Archibald - a book of arrangements for trumpet and piano, published by Brass Wind Publications (http://www.brasswindpublications.co.uk/) which includes:
Capriccio Espagnol (Rimsky-Korsakov)
Ballet Suite (Tchaikovsky)
Prelude 18 (Shostakovich)
All of which I think would suit your requirements.


Back to the original idea - my aims for the restarting of school.
To keep my students motivated.
To work on my own techniqiue (somethinng that frequently gets forgotten during the teaching time)
I am aiming NOT to get too frustrated with a teaching service that is more interested in money than quality of teaching.

ecarroll

Mike,

Sorry not to have responded. Mahaberio started a thread dedicated to this subject elsewhere on my forum and we've been kicking it around there. Do join us.

I take a somewhat different view, but we're probably going to meet in the end (when haven't we? -- our fellow TMers probably don't know our long history together)

In the best of all possible worlds the audience will respond to the beauty of the music and the commitment of the performers, not simply the familiarity of the tune or style (that, I believe died in Japan in the 70s . . . they simply got Eine Kleine Nachtmusik'd out).

Bob Brookmeyer (my kid's Godfather, as you know) often complains about presenters/audiences wanting to hear the Brookmeyer tunes from the 60's and 70's (5tet with Clark Terry, the Mulligan things, etc.). As an artist he never complies and I doubt if his audiences every come away disappointed -- they've heard great music that they've never heard before from an evolving artist.

My $1.98 (adjusted for inflation)
EC

trumpetmike

Ed - just spreading the word about other pieces that are out there - from having chatted to a number of US based trumpeters, many of the works published by Brass Wind are not nearly well known enough (some of the pieces are most definitely on the "should know" list, such as the Bourgeois Fantasy Pieces, Ridgeon's How Brass Players Do It, Arthur Butterworth's Knightly Pieces, and other works by many contemporary composers - Gregson, Ellerby, Woolfenden alongside Paul Archibald's own line of pieces and arrangements). I understand the idea of not playing too many familiar pieces, but there is (in my view) often a place in a recital for something a little more familiar, but I have already entered the discussion about recital programming so I will leave those thoughts for there.

As for meeting up sometime - I am looking forward to it - from what I have read we seem to have a lot in common (aside from the fact that I am a mere bod and you are one heck of a player). There will, of course, be an additional aspect to our meeting

josephus07

This is what I had in mind in an old post about a recital where the audience is guided/directed on the musical journey. Those who are artists and have been immersed in the music world for so long have a distinct advantage over others when it comes to knowing how to listen, what to listen for, how to appreciate something without loving it, etc.

There have been some excellent articles written about being an informed listener (I'll have to dig one or two up). If your audience comes in as uninformed listeners, is it not possible that they will leave as uninformed, uninspired, and uninterested..."un"listeners? Maybe this could be the start of a new thread or the old one could be revived. I seem to remember Ed having some convictions that this isn't the approach he would recommend. At the time I was so busy with school that I didn't have time for good dialogue, but hopefully it isn't too late! I would love to hear the thoughts of the masters here!

Thanks,
David

rowuk

I think it is legit for an audience to have "expectations" when they come to a recital. I also think it is legit for an audience to question why a performer picks the pieces that they play.
Dialog with the audience can be through the music, through explanations given by the musicians or in the program text maybe even a slide show in the background. We have a certain amount of responsibility as a performer to present the works in the interest of the composer. If we seek dialog with our audience, they are more likely to be enlightened by our efforts rather than offended. WE are the creative force carrying a message.
Narrating a recital has often given me an opportunity to rest between pieces, bring abstract concepts into focus, arrange a date after the show.................
Seriously, a recital is a wonderful opportunity in many respects!

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