Edit: Iโve heard yโall, and no, it is not underrated. I guess my classical music friends irl are just dumb ๐ so see this as an appreciation post for a beautiful piece!
I have been searching for a while now for a wind ensemble arrangement of the third movement of the Weber Bassoon Concerto in F Major, and have yet to find one. The reason I'd need it is because every year, my high school does a senior concerto competition, and I was hoping to audition on the third movement. Unfortunately, my high school doesn't have an orchestra, only a band :/
Any feedback is very much appreciated!
https://en.wikipedia.org/wiki/Trumpet_Concerto_(Mozart)
The New York Philharmonic concert of April 6, 1962, is widely regarded as one of the most controversial in the orchestra's history. It featured a performance by Glenn Gould of the First Piano Concerto of Johannes Brahms, with the orchestra led by its music director, Leonard Bernstein. The concert became famous because of Bernstein's remarks from the podium prior to the concerto, with which he disassociated himself from the interpretation that was to come. Gould, for his part, claimed publicly to be in favor of Bernstein's remarks; however, fallout from the event has since been cited as one of the factors that led the pianist to withdraw from public performances in the last years of his career.
The concert was planned as a regular subscription concert towards the end of the orchestra's 71st season โ its last at Carnegie Hall โ and was not expected to cause any great stir. But several days before beginning rehearsals, Gould called Bernstein regarding some discoveries he had made while studying the score. The conductor was curious, later writing that "Any discovery of Glenn's was welcomed by me because I worshiped the way he played: I admired his intellectual approach, his 'guts' approach, his complete dedication to whatever he was doing."
Nevertheless, the novelty of Gould's ideas needed to be shared carefully with the orchestra, and later with the public. The issue at hand was that Gould chose to take three very slow tempi in playing the three movements. Bernstein, in urging the musicians not to give up, referred to Gould as a "great man" and held that his ideas should be taken seriously.
The pre-intermission part of the concert program consisted of two works by Carl Nielsen, the overture to his opera Maskarade, conducted by assistant John Canarina, and his Fifth Symphony. This went smoothly, but the second half of the concert was less sure. Even Gould's performance was not guaranteed, as he regularly canceled at the last minute. Consequently, the orchestra was ready with another work of Brahms, his First Symphony, which was to be performed on the Saturday concert of the subscription series in place of the concerto. Canarina later remembered seeing Harold Gomberg, principal oboe of the orchestra, standing by backstage to see if he would be needed for the symphony. Only when the concerto, for which he was not required, actually began did he leave the hall. In the event, Gould did perform, choosing to work from the orchestral score, which had been affixe
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This is really similar to my last question, but I'm curious! If you've played the Tchaikovsky violin concerto, how much practice did it take? Or, if you're learning it currently or haven't yet, how much practice do you think you'll need?
Donโt know if anyone knows of this recording but I found it a few months ago on YourClassical.
Amazing recording of Kesselman playing with the Houston Symphony with his own Cadenza.
https://www.yourclassical.org/programs/symphonycast/episodes/2017/06/26
