Every two years TROMP Percussion Eindhoven presents the best percussionists of the world. Discover the upcoming talents at the TROMP Competition; experience today's leading artists at the TROMP festival! The central event of TROMP is the biennial international competition percussion competition. But, providing a stage for percussion artists and repertoire, the event also embodies a percussion festival with unique concerts.
Among the TROMP competition laureates are distinguished percussionists as Claire Edwardes, Yi-Ping Yang, Alexej Gerassimez and Alexandre Esperet.
Jury-members of the past have included Evelyn Glennie, Colin Currie, Peter Sadlo, Nancy Zeltsman, Emmanuel Séjourné, Martin Grubinger, Michael Burritt, Bill Cahn, James Wood, Arnold Marinissen, Mark Pekarsky, Trilok Gurtu, Pete Lockett and Terry Bozzio.
Take a 20th-21st century music history class and you'll understand why composers are constantly reshaping what music sounds like, experimenting with textures and challenging instrumentalists all at the same time. This is not even close to the most avant-garde, difficult-to-listen-to piece composed in this century, and it's sad to know you're closed off to experimenting with other forms of music.
Kom langs van 13 tot 17 november in Muziekgebouw Eindhoven! Dan is het TROMP Festival: 5 dagen vol slagwerkconcerten, workshops en inspirerende sprekers :) check www.tromppercussion.com - programma wordt 26 augustus bekend gemaakt.
I don't like this interpretation at all, unfortunately. The runs sound very note-y to me, I don't agree with where he takes rubato at all, and there's no shortage of wrong notes that interrupt the musical flow.
Wonderful....simply wonderful musicianship and sensitivity. And that's from someone whose first exposure to this piece was hearing Itzhak Perlman play it.
Hey, Ive been working up this solo and I was wondering if anybody knew how to work up the stick on stick section in the beginning? I could always play it on the rim but I would like to add that and I just don't know where to start.
Could be a little late; what I did personally is I worked on paradiddles with different accent patterns. Taking the tempo up little by little. Honestly just do it as often as possible and eventually it comes into your hands
Superb in every way. Rhythmic and dynamic expression, variety of feel, meter and style, and an unbelievable range of effects coming from a single drum via implement choices. This was masterful. I don't know how I have not come across this before in the last decade, but I am glad I did. Many thanks!
