Rimsky-korsakov Russian Easter Overture Program Notes
Take 1 Program Notes Complete Program Notes for Douglas Yeo's new solo recording featuring live performances given in concert, 1975-1997 A Die letzte Posaune Production, CD 51955 Total time = 71:45 The success of my first solo compact disc recording was a wonderful surprise. The realization of a long held dream, my collaboration with Britain's Black Dyke Mills Band, and the inclusion of tracks that included my wife, Pat, on piano and Boston Symphony Orchestra trombonist Ron Barron was an immense pleasure. The help of my friend Roger Challoner Green, who's book details every aspect of the making of that recording, was extraordinary, and the of the recording and the kind comments I've received from so many people has given me confidence to make plans for additional solo releases. This new recording, Take 1, has long been in the back of my mind.
- PROGRAM NOTES by Phillip Huscher Nikolai Rimsky-Korsakov - Russian Easter Overture, Op. 36 Born March 18, 1844, Tikhvin, Russia. Died June 21, 1908, Liubensk, near.
- Rimsky-korsakov: Scheherazade, Capriccio Espagnol by Rimsky-Korsakov. And the Russian Easter Overture.
Always one to enjoy doing something different, it occurred to me that so many recordings are over processed and edited - I know of trombone recordings that are spliced together measure by measure, and the ability of an expert editor to fix every little thing is truly remarkable. However, in the production of many recordings, the 'life' of the music is sucked away with multiple takes and minute splices. The idea of releasing a recording of live performances, with no editing whatsoever, recorded over a period of years, appealed to me.
Russian Easter Festival, Op.36 (Rimsky-Korsakov, Nikolay). Russian Easter Festival Alt ernative. 1 overture Year/Date of.
Kashchey The Deathless
Such a recording is not without risk - there will surely be those who will complain that it is not 'perfect' but my response is, 'What is perfect?' I've heard many 'note perfect' performances that have left me unmoved; for me, it has always been the emotional content of the performance and the aural connection with the audience that is most important. Hence, I decided to take the risk and release this album of music that represents performances that were great fun and collaborations that make me smile.
The inclusion of tracks recorded during my college years reminds me that even as a young player I was attempting to make that 'connection' to the audience. While my playing has certainly become more polished over the years, and the influence of many role models has made me rethink my style in significant ways, this 20+ year traversal of my playing career reminds me (and I hope others, as well) that making music in concert is as good as it gets. The thrill of standing on stage in front of an audience can create wonderful moments in music, and I'm happy to share some of my special moments with those who listen to this recording.
Since the small booklet that accompanies the CD can only tell so much about each piece, here are some further comments about the music and music making on the recording. Concerto for Trombone Nikolai Rimsky-Korsakov When I auditioned for colleges while in high school, the Rimsky-Korsakov Concerto was my primary audition solo. I entered Indiana University in the fall of 1973 (studying with Keith Brown) and transferred to (near Chicago) in the summer of 1974 (where I studied with Edward Kleinhammer).
Andrey Rimsky-Korsakov
It was the custom of the Wheaton College Concert Band and Orchestra to tour during one week of our Christmas vacation and during our spring break. I went on four such tours with Wheaton groups, covering territory in the mid-west and east coast of the United States. As part of these concerts, a student soloist usually performed a concerto and I was chosen to play the Rimsky-Korsakov on the Wheaton Concert Band tour in March 1975. The tour was seven days long and I played the Concerto each night; it was the first time I had been a soloist with a large ensemble that required me to give multiple successive performances of the same work.
That same spring, on May 16, 1975, the Concert Band gave its annual spring concert in Edman Memorial Chapel at Wheaton College and I performed the work one more time, this time for the microphone as well. When I look back on that performance, I am horrified that I took so much of the piece 'up an octave.' That was the custom at the time; in fact it unfortunately remains the custom today despite the fact that Rimsky-Korsakov did not write the piece that way. Today, when I perform the piece, I play it as Rimsky-Korsakov wrote it and I regularly rail against those who tamper so severely with music as did I in 1975. I suppose there is something to be said for growing up and learning a few things along the road.
Russian Easter Overture Score
Nevertheless, I had a lot of fun playing the Concerto and the performance brings back many wonderful memories of times with Wheaton friends. Looking at their names below reminds me of great times of music making, pranks and fun on the tour bus, times of prayer and fellowship together, and lasting friendships that are still with me over twenty years later.