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mazzrick · 02-23-2008, 08:46 PM

I'm gonna voice here too and I'm with Jimi and Matt on this particular performance. However, this was in 1989, a year after Phil was appointed principal and maybe didn't have tenure yet... I don't know. So who knows the circumstances. Actually, on a second listen I liked it better than the first time through. I just moved to Germany this year where the Haydn trumpet concerto is the only thing played in the first round of an orchestral audition. Thus it is looked at very closely and meticulously and is also played on rotary Bb trumpet, which we don't have to get into now.

Part of the reason that this is the competition piece is that there is so little to play. You must take advantage of every musical or technical possibility in the piece. Thus, you have to show contrasting styles, dynamics, and make enough of your musicality as clear as possible no matter what you chose to do. With this telecast I think the musicality, which there is undoubtedly some, is quite understated and thus sounds to me and the other guys quite bland.

I think we can draw a huge link here to Ed's "Orchestral Sound" thread in that there is no real discerning attribute to this performance. I would argue that this was played almost as an audition where the player was trying not to offend any of the committee by making a strong statement of interpretation.

For anyone who's interested, Nikolas Eklund has an incredible recording of the Haydn and I believe it's on keyed trumpet. Also, if you can dig up Hans Gansch's anywhere, that will provide the other end of the spectrum.

Two funny things:

I saw a masterclass that Simon Rattle gave on Haydn Symphony 104, written a year before the trumpet concerto, and he said the two most important things are the connection [call and response] of the melodic lines and the energy. "You must all play with each other." This got a laugh and the actual meaning can be applied the trumpet concerto. The other was he said, "Do you realize how much energy this must have? Do you know how many mistresses Haydn had in London at this point."

Also note that someone commented on Phil's video on youtube by saying "he's so cute and he got the high note." Oh dear,

Matt

02-23-2008, 08:46 PM	#19 (permalink)
mazzrick Pianissimo User Join Date: Sep 2005 Location: Berlin, Germany Posts: 121	Re: Phil Smith Plays Haydn video I'm gonna voice here too and I'm with Jimi and Matt on this particular performance. However, this was in 1989, a year after Phil was appointed principal and maybe didn't have tenure yet... I don't know. So who knows the circumstances. Actually, on a second listen I liked it better than the first time through. I just moved to Germany this year where the Haydn trumpet concerto is the only thing played in the first round of an orchestral audition. Thus it is looked at very closely and meticulously and is also played on rotary Bb trumpet, which we don't have to get into now. Part of the reason that this is the competition piece is that there is so little to play. You must take advantage of every musical or technical possibility in the piece. Thus, you have to show contrasting styles, dynamics, and make enough of your musicality as clear as possible no matter what you chose to do. With this telecast I think the musicality, which there is undoubtedly some, is quite understated and thus sounds to me and the other guys quite bland. I think we can draw a huge link here to Ed's "Orchestral Sound" thread in that there is no real discerning attribute to this performance. I would argue that this was played almost as an audition where the player was trying not to offend any of the committee by making a strong statement of interpretation. For anyone who's interested, Nikolas Eklund has an incredible recording of the Haydn and I believe it's on keyed trumpet. Also, if you can dig up Hans Gansch's anywhere, that will provide the other end of the spectrum. Two funny things: I saw a masterclass that Simon Rattle gave on Haydn Symphony 104, written a year before the trumpet concerto, and he said the two most important things are the connection [call and response] of the melodic lines and the energy. "You must all play with each other." This got a laugh and the actual meaning can be applied the trumpet concerto. The other was he said, "Do you realize how much energy this must have? Do you know how many mistresses Haydn had in London at this point." Also note that someone commented on Phil's video on youtube by saying "he's so cute and he got the high note." Oh dear, Matt