{"title":"Brass Rep","description":"","products":[{"product_id":"br-0006","title":"Ropartz, Guy - Piece in eb minor -  for Trombone \u0026 Piano","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003ePiece in eb minor for Trombone \u0026amp; Piano\u003c\/strong\u003e,\u003cbr\u003eby Guy Ropartz.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eRopartz composed this in 1908 specifically for the Paris Conservatory Concours des Prix (or \"morceau de concours\" as you've probably seen at the top of a number of Alfonse Leduc published scores for french pieces from around this time period). The Conservatory was a great engine for new work in the 20th century brass and woodwind repertoire - I could spend a year just recording all the Bozza\/Ibert\/Messager\/Desenclos\/etc pieces from around this time. \u003cbr\u003e\u003cbr\u003eThis staple of the brass repertoire balances a lyrical, chorale style opening with a rhythmic and more technically demanding Allegro section for both the trombone and the piano. I'm a big fan of these single-movement pieces that feel like a very complete story, Sulek and Lebedev and all them. \u003cbr\u003e\u003cbr\u003e🎹 Thoughts From the Piano Bench: This score features incredibly lush chords that I'm glad to perform with trombone, means I can really let it rip and play true fortes and fortissimos. The middle section introduces some syncopations and rubato passages where the piano and trombone absolutely must breathe together. I've always thought there's a couple awkward-ish transitions in this piece, like those sudden fortes at key changes that die away to piano in just a measure or two, so be careful to keep your dynamics at the forefront of your consideration and not go on auto pilot!\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Default Title","offer_id":54265051480430,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/tbn.png?v=1783207261"},{"product_id":"br-0008","title":"Neuling, Hermann - Bagatelle - for Fr. Horn \u0026 Piano","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eBagatelle - for Low Horn \u0026amp; Piano\u003c\/strong\u003e,\u003cbr\u003eby Hermann Neuling.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eNeuling was a low horn player for the Staatsoper Unter den Linden in Berlin during the early twentieth century. He wrote this piece to demonstrate the rich lower register of the instrument and it famously became a highly requested audition requirement in the 1980s. Legend has it that a candidate for the Berlin Philharmonic played it successfully without ever hearing the piano part before the audition. It stands as a decent Neoclassical challenge that demands finesse (and a little humor) from the soloist.\u003c\/span\u003e\u003cspan\u003e \u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e🎹 Thoughts From the Piano Bench: With soime of these start and stop concert pieces, I'm curious if people find this structure useful, or if I should just record the piece in chunks and then musicians can activate whichever 'chunk' they want to enter. Hopefully my conducting and general navigation through all the short cadenza lines is up to par, but happy to accept feedback if anyone has thoughts! Better to figure out a good system now, especially if I tackle more Bozza or other Paris Conservatory concours pieces, lots of segmented rep like this in the near future.\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54379705467246,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54379705500014,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/horn.png?v=1783207261"},{"product_id":"br-0021","title":"Vaughan Williams, Ralph - Concerto for Tuba - I. Allegro Moderato","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eConcerto for Tuba - I. Allegro Moderato\u003c\/strong\u003e,\u003cbr\u003eby Ralph Vaughan Williams.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eRalph Vaughan Williams essentially put the tuba on the map as a serious solo voice when he wrote this concerto in 1954. Before this piece, the instrument was mostly relegated to holding down the bass line in the back of the orchestra. He composed it specifically for Philip Catelinet, the principal tuba player of the London Symphony Orchestra, and it demands surprising agility alongside a massive singing tone. The first movement jumps right into a bouncy, march-like energy that shows off exactly how nimble the instrument can be in the right hands. \u003cbr\u003e\u003cbr\u003e🎹 Thoughts From the Bench: Okay so one of my main thoughts with this piece is for the pianist (in this case myself) - maintaining the strict tempo through the metric modulations is a task, whenever I switch to the 6\/8 I always want to tumble forward a little bit (and I've heard that same issue with any number of pianists over the years 👀). For you, my dear soloist, we need maximum articulatory contrasts from section to section. The opening is a weighty proclamation as you set the mood, but as soon as we hit that first cantabile after square 2 it's all on you to add the lyricism and soaring melodies the piece requires - your orchestra (me) is still staccato there, so all the sustain and legato is courtesy of the soloist!\u003c\/span\u003e\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54379716346222,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54379716378990,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/tuba.png?v=1783207261"},{"product_id":"br-0050","title":"Vaughan Williams, Ralph - Concerto for Tuba - II. Romance","description":"\u003cp\u003eA custom streaming practice\/rehearsal piano track for \u003cstrong\u003eConcerto for Tuba - mvmt II. Romance\u003c\/strong\u003e,\u003cbr\u003eby Ralph Vaughan Williams.\u003c\/p\u003e\n\u003cp\u003eWritten in 1954 for Philip Catelinet, the principal tuba of the London Symphony Orchestra, this piece put the solo possibilities for tuba on the map. Vaughan Williams crafted this Romanza movement to showcase the instrument's capacity for breathtaking lyricism and vocal-like phrasing. The music requires breath control and a velvety tone to navigate the sweeping, sustained melodies without losing the underlying pulse. Especially at a couple of the climactic moments, be careful that your subdivisions remain proportional - you can control the tempo as long as your mental 'conducting' is clear!\u003c\/p\u003e\n\u003cp\u003eNo, I don't know what happened to the aspect ratio of this video, apologies for that. This was filmed right when I was switching back to my 'real' camera instead of using the webcam I had setup for the first batch of tracks, so I must have had something set strangely with my capture card or with OBS. When I get around to filming mvmt. 3 it'll be back to normal!\u003c\/p\u003e","brand":"Tuxedo Tracks","offers":[{"title":"Standard Unlock","offer_id":54483762184558,"sku":null,"price":15.0,"currency_code":"USD","in_stock":true},{"title":"Founding Sponsor","offer_id":54483762217326,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/files\/tuba.png?v=1783207261"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0999\/2726\/1550\/collections\/Brass_-_French_Horn.png?v=1780808995","url":"https:\/\/tuxedotracks.com\/collections\/brass-rep.oembed","provider":"Tuxedo Tracks","version":"1.0","type":"link"}