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Post your classical playing here!

346K views 660 replies 216 participants last post by  GroverC 
#1 ·
It's high time those of us who play classical music on saxophone put our talents on display. There's a very active thread in Misc. Saxophone Discussion where people post clips of themselves - it's one of the busiest areas on this board, other than the buy/sell postings.

I'm starting this thread because I'm personally interested in hearing what other participants in this area sound like.

The only thing that I ask of you is this: if you're going to take part here, be prepared to post. I've got no time for armchair critics.

Here's the first movement of the Albinoni Sonata St. Marc on soprano with piano accompaniment.

http://www3.sympatico.ca/merlinwilliams/albinoni1.wma
 
#310 · (Edited)
Check out my recording of Tableaux de Provence Mvt. 4

Well, here's a very sloppy recording of Tableaux de Provence, Mvt. 4 (Dis Alyscamps L'amo Souspire). This is basically a sightread by both the pianist and I. We got about 10 minutes to shed and then we recorded. The articulations aren't that good, low notes are shaky, and vibrato is off. The acoustics suck also, as it was recorded in my friend's house's entryway/piano place thingy. Give it a listen anyways (rate it). Constructive criticism is always appreciated. What you think, is it myspace music page-worthy? Thanks.

My setup on this recording is
R. Caravan large chamber mouthpiece
Francois Louis bare brass ligature
Rico Reserve 4 reed
The horn on this recording is a mystery horn (borrowed), try and guess what it is.
You can hear it here:
http://boomp3.com/m/c1c508c2c738/tableaux-de-provence-mvt-4-dis-alyscamps-l-amo-souspire
 
#314 ·
Re: Check out my recording of Tableaux de Provence Mvt. 4

You seem to have an attractive sound and vibrato concept. I have to ask, though: Why do you think that this music deserves only ten minutes of preparation? In many cases, I work with students for the better part of a semester preparing several movements of this for performance, and I'm not talking about notes and rhythms. Nuances of phrase direction, vibrato, subtle dynamics, etc. are what bring this to life. Above all, respect the music--and giving it your serious time and attention is the first step. What is the translation of the title? How can you portray that sentiment/image via a thoughtful and detailed performance?

These considerations are far more critical than guessing what horn you're playing, or whether your ligature is bare brass or painted blue. Those factors will not correct notes or create phrase direction where none exists.

Well, here's a very sloppy recording of Tableaux de Provence, Mvt. 4 (Dis Alyscamps L'amo Souspire). This is basically a sightread by both the pianist and I. We got about 10 minutes to shed and then we recorded. The articulations aren't that good, low notes are shaky, and vibrato is off.
 
#312 ·
Re: Check out my recording of Tableaux de Provence Mvt. 4

Hey!

Why didn't you take a little more time to learn it and then record it?
It seems you're a nice player, but this really wasn'ta good job. I'm sure you could do it much better ...

Here's my feedback:
1. Wrong notes ... look at it again, if you didn't to them on purpose.
2. There's two ways to play this piece: You focus on keeping the tempo down during the whole piece. You keep it steady at about 52. I prefer this way because it gives the piece this mourning. I mean, you just kinda have to be in mourning during the whole piece.
You can also add tempo changes, londeix wrote a good essay in which he describes all the changes.
3. You probably also had problem with your breath during the piece. When I first played it I couldn't even get through. Keep practising and it will help you a lot, by the end I didn't have any problems with air anymore. But don't compensate by cutting some notes, play all notes as written.
4. Read some letters from Maurice to Londeix ... you should also know what the piece is about.

I hope my comment helps a bit. I myself are just a hobby saxophonist but I spend some time on this piece lately.
You're a good player! I hope you spend more time in this piece and then record it again. It's such a wondeful piece ...
 
#315 ·
I have to agree with Drakesaxprof here. This is part of of a lofty work that deserves much more than 10 minutes of study.

I think you need to study the work a lot more. Work for understanding the harmonic progression, the interplay between the piano accompaniment part. When does the piano have the tune? The phrasing! Do you really want to breath between the first two measures you play? The counting of some of the longer tied notes is not correct.

Do you know what the title means? It's a dialect of French, so it may not be outwardly apparent. You should most definitely know what the word "souspire" means. :)

I would suggest doing some listening, too. I am currently giving the Delangle recording a spin. Very pretty. And his tempo on the 5th is quite impressive...around 160, I believe.

While I agree with Drakesaxprof that you have the making of a good sound and vibrato concept, there is evidence of weak breath support...I 'd like to hear what you sounded like if you had some energetic, vigorous air behind what you're doing, particularly at p and pp levels.

While it is tempting to record and post because it is so easy to do, I would suggest you'll find the experience to be much more fruitful if you put in some "heavy lifting", some serious shed time, and post a recording that is a manifestation of serious study and practice. Do that. I'd be interested in hearing what you can do with that, and some guidance from a teacher who knows the piece. I bet you'll find it to be more beneficial as you will receive criticism for your work and concept, not your (in)ability to essentially "read down" a piece of the standard repertoire.;)

Now stop reading and posting so much and go practice. :)
 
#316 ·
Since we're talking about this beautiful piece at the moment I would like to hear your opinion about the tempo:
In my critic post earlier I mentioned there's two ways two play it.
-Various Tempi changes like Delangle does.
-Steady slow tempo during the whole piece.

What do you like better? At a recent contest I played it and tried to keep a steady slow tempo. It was really hard not to add any changes but I found it gave the piece a very sad tone. Just like the people walking slowly to the funeral ...
 
#318 ·
I didn't mean it as a serious like final recording with that much preparation, but I just wanted to give it a quick spin. I wanted to know what I needed to work on most in preparation for a better recording. I'm still working on it, and when I get it like 100 times better than this recording, I'm going to record it again.
 
#320 ·
I didn't mean it as a serious like final recording with that much preparation, but I just wanted to give it a quick spin. I'm still working on it, and when I get it like 100 times better than this recording, I'm going to record it again.
Sounds like a good plan--I encourage my students to record themselves frequently and listen back with a critical ear. It's the most valuable practice tool that you have. I would certainly urge you, as part of your study of this work, to do some careful listening to at least three different recordings by outstanding players--Mule, Delangle, and Fourmeau come immediately to mind.
 
#323 ·
Hey guys
I wanna post my recording of Tableaux de Provence. I played it at a contest about 3 weeks ago. It's all in one mp3 in the following order:
Movement I
Movement IV
Movement III

http://www.fileload.us/75762928-thomas_prix_musique.mp3

Quality is not the best, but it's ok. Turn down your speaker towards the end because the clapping will be really loud.
I know there's some wrong notes in Movement I and Movement III doesn't seem to be very clear (it was a big room).
But I'm especially wondering about your comments of Movement IV. It's not the typical Delangle version.

Please give me a feedback! Thanks
 
#324 ·
I just typed out a long response and my browser closed on me. Sorry. Well, to sum it up,it sounds great. You just need to watch dynamics in places, and I would have preferred a more consistent vibrato. I noticed you didn't use vibrato on the 3rd movement, like delangle, but I prefer heavy vibrato on this for the effect. It sounds good either way, so I don't care too much. Also watch the sharpness up in the palm keys. Just need to work out some of the technical flubs and it'll be even better. Your recording of the 4th is much better than mine.
 
#325 ·
Arctus,

Pretty nice recording. It's so similar to Delangle's interpretation. I think you should put more of YOU in there, and some of the notes in the recording are just sitting there and not moving at all. maybe do some slight crescendo or decrescendo in there to give it more motion and life I kinda want to ask you where you go to school and what year are you. In a way you sound really much like me and I'm working on the piece for my recital in mid May. I'm using right now a series III with vandoren A17 and vandoren string lig and number 4 vandoren reed.
 
#327 ·
Thanks for the comments to both of you!

@NatureColor: You heard right, I listened to Delangle's recording a lot. Although we have to say my interpretation of the 4th movement is quite different then his. My teacher and I talked a lot about how to play this piece and we got to the conclusion that it sounds most like mourning when I play it in a slow and steady tempo.

I'm actually living in Switzerland and I'm not planning to major in music. Music is just a big hobby for me. I'm 19 years old and have been playing the sax for 7 years. I'm taking private lessons with a student of Iwan Roth.
Last year I spent a year in the States in a High School where I really started to appreciate the music. American High Schools are far ahead in the music classes they offer in school compared to Europe.

Oh, my setup is a series II with Vandoren AL3 and Vandoren classic 3 reeds.

I hope you record your recital and post it here!

Thanks again for the comment!
 
#329 ·
www.soundclick.com/alexsellers

Two new recordings up. The first is the first movement of the Marcello Concerto for Soprano solo and AATB Quartet. The second recording is the third movement, Ostinato, of a new quartet piece being written for our quartet by Joseph Robert Charron. He's a sophomore comp major here at my school.

Marcello:
Sop: Dr. Carolyn Bryan

Charron:
Sop: Ryan Douglas
Alto: Reginaly Victor Smith Kelley
Tenor: John Hardin
Bari: Alex Sellers
 
#330 · (Edited)
Here's a recording of me performing the Schmitt Legend in the Semi Finals of the JMLondeix Competition in Thailand. It has been slightly compressed so the sound is not 100%, but it's not awful. Roger Admiral on Piano (amazing!). Also, please note that 1 day before this performance I dropped my Alto, and still played it here... Not exactly the best low register response after the fall, but still playable.

http://web.mac.com/page0149/StephenPage/Audio.html

Steve P
 
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