Chris Woodruff

Friends,

Given the expanded brass for this work, how have you successfully staged the extra players?...unsuccessfully?

I can see using balconies for an antiphonal effect (yikes?). There's also the visual appeal of spreading everyone across the back of the stage, behind the winds and percussion.

(Must remember to bring some reading for mvts. 2-4 to the next rehearsal!)

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Chris Woodruff
California Polytechnic State University
San Luis Obispo Wind Orchestra
SLO Symphony

Manny Laureano

You didn't mention whether you're doing the 9 or 12 trumpet version.

The last time we did it we had 9 in one row and the F trumpets in the back behind 7-8-9. I was all the way on the right (that figures) with 2 et al to my left. The balcony suggestion is about one of the worst I've ever heard, to be frank. It would be a disaster for this piece.

There's a photo somewhere of the Khatchaturian symphony that uses 15 with all the trumpets against the back wall. That was during Charlie's tenure; I've never played the piece.

You might do well with 6 and 6 in the corner. I imagine you'll be using a stage extension? Might be tight otherwise.

ML

cornetguy

I saw the Chicago Symphony do this at pre renovation Orchestra hall. They put the 9 C trumpets in three groups of three on the choral seating (not bringing down the full risers, just what was permenent.) This is the Terrece seating behind the orchestra in post renovation Orchestra Hall. 1-3 on audience left 4-6 in the center and 7-9 on the right. the 3 F parts in the usual seating. Hope this makes sense.

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Per aspera ad astra

Chris Woodruff

Thank you for the replies! We're doing the version for 12 trumpets. I seem to have a faint recollection of that CSO setup from a program I saw during the Solti/Barenboim days. The 6 & 6 setup would be best for ensemble precision.

Happy trumpeting!

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Chris Woodruff
California Polytechnic State University
San Luis Obispo Wind Orchestra
SLO Symphony