same here! Over the years I've slowed gravitated from rock to progressive rock to progressive metal and now I've been acquainting myself with the root of it all: classical/orchestral. check out Dvorak's From The New World symphony, 4th Movement. That's really where it started for me.
The phrasing nuances in this performance or so symphonic - I keep reminding myself that this is a brass ensemble and not a full symphony! - B R A V O !!
@MrObviouslyInsane Check out the symphony No.8 by Bruckner. He was the originator of the POWER CHORD. That a chord consisting of the root and 5th only. No 3rd.
This was superb technique and musicianship, of course, but it was also a really good arrangement. Beethoven wrung every bit of sound out of a symphony orchestra and this still sounded very "Beethoven" even with all those missing instrumental sounds. I think people interested in arranging should listen to pieces like this re-arranged for a different ensemble as something to learn from.
Are these all the old versions of brass like the pocket trumpet, echo French horn etc. But it sounds good I'm on your side just ignore the other commenters
I'd like to hear the 4th movement, in which violins don't take over the opening melody from the trumpets. I always thought that this opening fanfare only continues with the violins, because trumpet players couldn't do it in Beethoven's day. It would've been too difficult back then, but today's musicians could play this with trumpets. I'd like to hear it done that way.
+Katie K I've never seen a piccolo like that one. I know it's not a pocket trumpet, but it looks like a piccolo version of a pocket trumpet. It sounds like a piccolo though.
"should be heard"? If it's a masterpiece and the playing is superb, what's wrong with it? Should also only people who can appreciate Beethoven be listening to the orchestra?
It isn't the "masterpiece" which LvB composed. Would you consider a black and white photo of a colorful, original oil by any master as enjoyable, or even truly representative? If the original (as the composer created it) isn't available, and a similation is the only way of experiencing a great work, then why not? But in the modern world, the original (even if via recordings) is preferable. "Preferable"? Of course, you might prefer the Rolling Stones performing opus 67, but LvB it wouldn't be.
So, according to your curious way of thinking, "Pictures at an Exhibition" shouldn't ever be preferred or tolerated in the various orchestrated versions simply because it isn't in the original version. C'mon, laddie, have some flexibility in your thinking and hearing, lol. This LvB 5th was an example of masterful (note: "colorful") arranging skill and instrumental virtuosity (individually and collectively) that certainly can be appreciated on its own merits. Composers themselves often produce versions of their works from one medium to another, years perhaps decades apart. Must we regard any but the original with an attenuated enthusiasm? Why not enjoy them for what they are? In the modern world, shouldn't one have the liberty to prefer what one prefers? Not long ago on RU-vid there was a "Rite Of Spring" performance -- complete -- by a very large saxophone ensemble (12, I think, from Boston I believe) that was stunningly executed and filled with many more instrumental colors than you might have expected from a single family of instruments. Sadly, it was taken down . . . I believe IS's publisher (Boosey& Hawkes?) had a conniption. How miserably short-sighted, alas. Limited thinking . . . sad. And, btw, sometimes a black and white photo of a view or composition is much more revealing, or powerful, or compelling, or thought-provoking than were the photo to be taken and printed in color. Just saying.
