| [quote="Manny Laureano"]To tell you the truth, I don't know why people choose to, play it at the faster tempo except that there might be endurance issues and they want to get over with quicker. I play it at the printed marking.
I have to. It is very powerful and dramatic at published tempos. Even the last movement at 40. The endurance can be built up with practice of this and things like the Arban Characteristic studies and Top Tones
Quote I believe a strong command of extreme dynamics is essential to a "masterful" performance and well-executed rhythms. The phrasing is often done poorly when people play accents in the wrong places, and don't allow the music to breathe when it needs releasing in just the right places. It's dramatic music and has become a contest piece or college audition piece like the Arutunian and played in a similar style. I don't like to hear high school students play it but they have to because all the colleges ask for it, so, what are they supposed to do? The same goes for the Hummel and Haydn. I'd rather hear a kid play Rustiques by Bozza and a Brandt Concertpiece or a well played Arban solo than a perfunctory performance of classical stuff. College should be the time to get into the soul of music by the great masters. Okay, Hummel was not a master and neither was Neruda. But you get the idea.
I adjudicate solo festival in Wisconsin and Minnesota, and second the above. I have yet to hear an Arban or Clarke solo (arban solos are not on the WI list, Clarke are but I have not heard them). The trumpet students that played Haydn and Hummel (and the horn students that do Mozart or Strauss) wind up getting II's if they are lucky and usually III's. A lot of my adjudicator collegues in MN wonder the same thing. We are not impressed by half baked performances of that literature, I would much rather hear the French Solo de Concors or cornet solos then the above.
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