Re: Re: Re: Re: Re: Re: Re: Re: Re: Verdi Requiem


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Posted by Chuck Jackson on November 30, 2002 at 18:55:44:

In Reply to: Re: Re: Re: Re: Re: Re: Re: Re: Verdi Requiem posted by Jay Bertolet on November 30, 2002 at 16:34:44:

Must be all the turkey, I didn't mean to sound like a jerk, but my posting certainly didn't support that feeling. I assume that the learning curve from tubas to playing the cimbasso is the same as the learning curve when one learns the F tuba. Not that the notes are that much different, but the FEEL of the instrument is certainly bound to be a mitigating factor when choosing, hence, learning it. I just have to wonder if it is worth the effort for the few moments that one uses it in ones career. I admit, I don't particularly care for the sound, BUT, I am in agreement that if that is what was intended, then one should play it. To a point. Having heard a performance of Fantastique on Ophicleide, I see why they went out of favor, and should be banned. I have to wonder how Verdi would have written if he had heard a competent bass-tuba player perform his works. C'est la vie, as he continued to write for the instrument. I had a run in with a conductor a few years back when asked to play a 4th trombone part to a Henze symphony. Being a very knowledgable composer, Henze didn't write for it even though he had been exposed to some great tuba playing. I questioned why the conductor felt the need to replace the bone part with a heavy voice. Becasue he was the conductor, or so he said. Lost the argument, kept the gig. Both sides of the coin can be played. My wife has recently done alot of work with Bocelli and Pavoratti. Both conductors insisted on 4 trombones, because a cimbasso wasn't available. Go figure. As those gigs are few and far between in Sin-City, none of us have made a move to get one. I appreciate you sharing your insights. Happy Holidays.


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