Posted by Dave on June 10, 1999 at 16:24:25:
In Reply to: orchestral recordings posted by John on June 10, 1999 at 15:27:40:
I know you'll get a ton of responses, but let me share with you my "stash" that I listen to whenever I need reminding why I do what I do. These recordings are of some UNBELIEVABLE pieces of art that happen to have wonderful brass writing. I'll specify my post by listing a few recordings from the same orchestra. You can't go wrong with any of these.
I bought a cd what seems to be a long time ago of what was then an "up-and-coming" orchestra who seemed to break the predictable mold of the typical American orchestra "cycle recordings" of the same Pictures-Bruckner-Mahler-Shostakovich compositions (Bruckner makes me sleepy, anyways...arpeggios...arpeggios...arpeggios). It was the San Francisco Symphony with Blomstedt conducting. I bought the disc for the recording of Hindemith's Symphonic Metamorphosis which we were playing in my high school band, but was FLOORED by the suite from his opera Mathis der Maler, which I had never heard. The orchestra was (and still is) unbelievable. Since the purchase of that disc, I've purchased several with that orchestra and varying conductors. Of note is another disc of Hindemith music with Blomstedt conducting...Nobilissima Visione and Konzertmusik for brass and strings. Also, two symphonies by Carl Nielsen, his 4th and 5th are wonderful pieces with great tuba parts (Nielsen was in fact criticized for his "excessive" use of the tuba, particularly in his 1st symphony!). If you've never experienced a Nielsen symphony, treat yourself today! His tuba parts are as fun as Prokofiev, if not as busy.
More recently, the Tilson Thomas release/arrangement of Prokofiev's Romeo and Juliet is a wonderful disc. I'm also glad to see their switch from the London label to RCA Victor has toned the low end down a bit and I believe, given us a more accurate representation of that orchestra (Why London chose to darken to extreme San Fran when their CSO recordings are so bright, I don't know!). The recordings with Blomstedt are a bit on the "boomy" side, but incredible nonetheless.
These are just a few of some wonderful pieces that if we're lucky we may have the chance to live through sitting in a tuba chair. That's why I bust my hump, and I'm sure it's why the rest of us do as well. I'm not the kind of guy that's insulted by sitting through Dvorak 9 to play those handful of notes. Simply to have a chance to be on stage while great music is being created and having the priviledge of contributing is why I keep plugging away.
Hope I've given you some helpful ideas. Good luck!
Dave