Gershwin: Rhapsody in Blue ∙ hr-Sinfonieorchester ∙ Michel Camilo ∙ Andrés Orozco-Estrada 

you´re all over classical music youtube lmao

pero si falla más que una escopeta de feria...

How many years? References simply state that he studied there, but give no information on just what he studied, or for how long, or for how successfully. It's easy to say he was at Julliard, but that means nothing in itself.

@@bryangl1 HE studied with jacob leteiner at juilliard and used to practice classical music for 10 hrs a day liszt, beethoven etc. Then at nights he played at jazz clubs.

Indeed

Englisch: There are several reasons for that, I suspect. On the one hand, the HR Symphony Orchestra in the Blechsatz is staffed by HR (Hessischer Rundfunk) musicians from the HR Big Band. Are publicly legally employed by the broadcasters and are added to the roster. Thus, you play the popular jazz trumpets formerly American design. On the other hand, grand piano trumpets are more attributable to the Vienna School. Austrian traditional orchestras are increasingly playing because of the soft response. For Gershwin, the tone is more aggressive in approach. I am not a trumpeter but a trombonist. Here it is similar. Bach instruments are softer in the beginning and you can dive into the sound. With KING trombones (American style and pure for Big Band), the tone is formed or formed just behind the mouthpiece and not just shortly before the funnel, as in classical orchestra style. For KING jazz instruments, at least for trombones, I have to hit the same note, otherwise I - lost for everyone audibly. I suppose this is similar with trumpets ... Deutsch: Das hat durchaus mehrere Gründe, vermute ich. Zum einen ist das HR Symphonie-Orchester im Blechsatz mit den HR (Hessischer-Rundfunk) Musikern aus der HR-Big Band besetzt. Sind ja öffentlich rechtlich von den Rundfunkanstalten fest angestellt und werden vom Dienstplan hinzugenommen. Somit spielen Sie die gängigen Jazz-Trompeten vormals amerikanischer Bauart. Andererseits sind Flügeltrompeten mehr der Wiener-Schule zuzuordnen. Österreichische traditionelle Orchester spielen Sie vermehrt wegen der weichen Ansprache. Bei Gershwin ist der Ton im Ansatz aggressiver zu spielen. Ich bin kein Trompeter sondern Posaunist. Hier ist es ähnlich. Bach Instrumente sind weicher im Ansatz und man kann sich in den Ton hineinmogeln. Bei KING Posaunen (amerikanische Bauart und rein für Big Band) entsteht oder Formt sich der Ton gleich hinter dem Mundstück und nicht erst kurz vor dem Trichter, wie bei Klassik-Orchester-Bauart. Bei KING-Jazz-Instrumenten, zumindest bei Posaunen muss ich gleich den Ton treffe, sonst habe ich - für alle hörbar - verloren. Ich vermute dies ist bei Trompeten ähnlich gelagert ...

Ever hear of Jazz? Gershwin's original was called a classical jazz fusion, or similar

@@charlesdavenport6094 pay no mind to the close minded ignoramuses.

@@charlesdavenport6094 It's a "classical" work with jazz influences. The pianist is expected to play the notes in the score, but with slight timing differences that bend the musical line. And even if you accept adlibbing some of the notes, jazz still requires the changed notes have musical integrity. Here, no matter how you look at it, the wrong notes are wrong notes. Gershwin never played the work as a jazz work (which he was capable of doing) but played the notes as written.

@@bryangl1 I didn't pick up any wrong notes, but overall it's a revelation

@@charlesdavenport6094 There are quite a few wrong notes - most are buried in fast passages. There are places where in fast arpeggio-like breaks he just grabs a handful of notes 2 or 3 times over that aren't the written notes and don't make sense as jazz breaks. The conductor's tempi also seem a bit erratic. It's almost as if the conductor and pianist couldn't agree on how to approach the work. Camilo is a skilled pianist in his field, and Orozco-Estrafa is highly skilled in his field, but on this day, it's almost as if there was no rehearsal. The pianist almost sounds as if he was drunk.

Too many notes?

Winds and Brass outstanding

Einmal mehr eine wirklich sehr gute Leistung des Orchesters und des Dirigenten. Diese Kombination passt ausgesprochen gut. Man merkt, dass Andres Orozco-Estrada und das Orchester auf einer Wellenlänge zusammenarbeiten. Ich bin auch immer wieder von den kurzen Solopassagen der Orchestermusiker beeindruckt, die technisch und interpretatorisch wirklich ausgesprochen bemerkenswert sind. Leider verdirbt hier die Klavier-Performance die Aufnahme nahezu komplett. Michel Camilo spielt nichts sauber aus und versucht die (leider permanent auftertenden) technischen Unzulänglichkeiten durch übertriebene Geschwindigkeit und Lautstärke zu überdecken. Zudem sorgt sein überzogener und dilettantischer Pdealgebrauch dafür, dass ein Klavier-Klangbrei entsteht.

Michel Camilo is one of the greatest latin jazz players today. Why would you wonder how he gets work? Also why would you put pianist in quotation marks? Are you seriously implying michel camilo is not a pianist? Thats really stupid of you if thats the case.

@@micah5898 I think my comment already answers your question. He may have some ability to play the piano, but the playing here is so bad a very large number of amateurs could give a better performance than this. If you know so little about music, or at least this composition in particular, that you can't hear the very large number of mistakes etc in this performance, then you are in no position to criticize. [I am not referring to the orchestra which is impeccable as always.]

Exactly what I was thinking. Probably the worst performance I've heard of this great piece.

I agree. Even though I don't know this piece very well, I feel like the jazz soul is lacking.

lol, what?

pablo cramer ich finde das Klavier sehr gut gespielt

hahaha...lack the ability? are you aware whom are you talking about? Michel Camilo! Take a look at Caribe from him. Rhapsody in blue is just a warm up exercise for a pianist like this! Camilo is not a classical pianist, so don´t criticize him under this point of view. His technical skills are far beyond than most of the living pianists

@@amadeusmozzart If you are correct, and I emphasize the IF as you seem to have no ability you judge, why so many wrong notes, why so many brushed notes, why so many timing errors? Even if sight-reading, a pianist of any real skill would be playing very much better then this. You obviously normally hear him playing music where you can bluff your way though. Not so here where he needs to play the note as composed - a feat for which he shows little talent. Embarrasaing for the fine orchestra.

you are obviously divorced from reality sir.

@@bryangl1 bluff your way through? you are out of your mind as well.

@@sampowellmusic Hi Sam, my comments relate to this performance, and it's clear I am in the majority in claiming this is a bad performance from the pianist. If he is skilled in jazz playing, he will be in the habit of improvising much of the playing - not bound to follow the score in detail (in fact. much of his usual playing is likely to be from charts rather than scores.) Interpretation of classical music (although on the fringe of "classical", this is a work that must be approached with respect for the score - with some freedoms in timing where a jazz feel is needed etc, but no freedom on the notes). If you are unable to hear the wrong and brushed notes, you obviously don't know the score, or the way it should be played. You are entitled to your opinion, but don't insult the many people who have commented on the flaws in the playing. comments from people who clearly know more about this work than you do. I am a pianist, but VERY definitely amateur. so I can only stumble through playing this, which I do for my own amusement. But, from my attempts to play it at least I'm very familiar with the score, and listening to this while following it from the score makes me feel Camilo should be too embarassed to present his playing to a piblic (and paying - presumably) audience.

I prefer United’s version