Deliberately not replying to any post in particular, one or two of our members may benefit from a little background info on the St Petersburg/Leningrad Philharmonic.
http://guilhermebernstein.com/UR/cambridge_companion_to_the_orchestra_2003.pdf
Scroll down to the relevant section starting page 134.
Other than the during the siege, it seems that members of the orchestra had both the means and opportunities to obtain in principle, any instrument they needed.
@rowuk said in Dry instrument vs Wet instrument:
Moisture! The speed of sound in moist air is different than in dry and in the microcosmos of the trumpet, that is a big deal. Intonation and targets change.
Granted, if one has minimal chops, other issues may mask the effect.
A „moist“ instrument is different than just running water through it first (although that does help some).This is such a fundamental thing for me that I will not risk playing a gig on a dry trumpet (even although it is only dry for the first 10 minutes or so). When testing trumpets, the first 10 minutes do not count.
This. Sort of.
On a microscopic level the inner surface of a brass pipe is quite rough and it will not reflect pressure waves, especially the higher frequencies, straight and true. You could say the speed of sound is 'reduced', but more in the sense of being sent on numerous detours. This will tend to push the sound towards dull and lifeless.
A bit of moisture on the other hand will tend to fill in the valleys and present a much smoother surface, truer wave reflections and richer sound.
@administrator said in You know "those moments"?:
Wait, I amend my statement. It's Maxim (Dmitri's son) conducting and Dmitri Jr. (Maxim's son) at the piano. Both released on Chandos.
I'll look out for it. Thanks for the heads up.
@administrator said in You know "those moments"?:
I played the 10th in college. That was a very difficult and intense piece of music to perform.
I've listened to most of the symphonies. I would say my favorites are 4,7 & 13.
Of all the music Shostakovich wrote, my absolute favorite piece is Piano Concerto No. 2, especially Mvt. II. Very sublime.
Jealous you got to play that one. However our Shostakovich was the Festive Overture and that was great fun to play.
Certainly agree with you about the 4th - the finale is breathtaking.
And a family member got me the Christina Ortiz recording of the Piano Concertos for my 16th birthday (I think). That's also something special.
@administrator said in You know "those moments"?:
Wow, so different but I like it. Thank you. I know there is a book about the symphony, I think I am going to look it up and purchase it.
I grew up with the 1953 recording. It's vitality and in particular, Mravinsky's willingness to let the Leningrad brass play on the absolute ragged edge are a big part of what make it a benchmark for me.
I guess the book is Volkov's 'Testimony'. There was so much controversy about it's authenticity I decided not to read it preferring to let the music speak for itself. I think both come to much the same conclusions.
How well do you know the other symphonies? As you liked the passage you posted, you might also enjoy the 10th. Listen to the Mravinsky version first as he worked very closely with the composer.
Compare and contrast the interpretation by those who actually lived through the nightmare.
To me the performances are as different as chalk and cheese.
@trumpetb said in Valve Springs:
Do you really not know about plastic deformation do you really not know about stress hardening of a spring when it enters the plastic range.
I will explain it.
No, I've never heard of 'stress hardening' until this thread.
I've heard of 'work hardening' (which is very occasionally referred to as 'strain hardening') but 'stress hardening' is a new one to me.
What you describe sounds very much like you actually mean 'work hardening'.
Quote from Wikipedia
For metal objects designed to flex, such as springs, specialized alloys are usually employed in order to avoid work hardening (a result of plastic deformation) and metal fatigue, with specific heat treatments required to obtain the necessary characteristics.
Now look, I'd intended to edit the provocative tone out of the first draught of my earlier post but nodded off during the process, and then it was too late. So I apologise for understandable offence taken.
But you do make rather a target of yourself.
@trumpetb said in Valve Springs:
Fixing the spring by making it stronger almost without exception means stretching it.
Making a spring stronger by stretching it is proven by anecdotal evidence, empirical evidence, and is also explained by the correct application of Hooke's Law.
A stretched spring is no stronger in its overall travel but because it is longer it becomes effectively stronger at the small changes of length at the extreme compression end of its travel which is where we typically use it.
I think you've got away with murder on this thread.
If you feel you need to increase the preload on a valve spring (which is what you're actually doing) then wouldn't it be better to insert a spacer to increase spring compression a little rather than destroy the mechanical integrity of the spring by stressing it beyond its elastic limit?
Just a thought from an actual engineer.
@trumpetb said in Difference between trumpet and cornet:
Simplicity and beauty is very important in nature, with the DNA double helix for example, before Watson and Crick the explanations offered of the structure of DNA were all excessively complex and convoluted in their attempt to explain a complex system. Watson and Cricks double helix was both simple and beautiful.
Is it a coincidence you chose this example?
As @Trumpetsplus correctly states, the pressure wave seeks the shortest path available to it.
But not necessarily so the air. If you could watch the airflow through a tuning slide section from upstream, the right hand half would be rotating clockwise and the left anticlockwise (rather like two 'D's facing each other).
Our very own double helix.
It just now occurred to me that Edwin Astley and John Barry created very similar sounds (at least the way I hear their arrangements). I wonder if there were musicians who played in both men's orchestras....
Got to remember that the top flight of British trumpeters are almost exclusively classically trained with probably a majority from a BBB cornet background. So they aren't generally limited to a particular musical style (as maybe more the case in the US) and would be expected to play whatever is put in front of them in whatever style was appropriate for the music.
So any similarity between the Edwin Astley and John Barry sounds really tells you very little about who's actually blowing the instruments.
Having said that, your Bond sessions link mentioned 3 of the 4 I did. I recognise a couple of other names there, but also remember that it's clear that all these guys knew one another. If one session was short-handed, anybody in town at the time could have got the call to fill in.
One notable name that's not been mentioned so far is Kenny Baker who could well be a distinct possibility. Again, technically near faultless due to his BBB background and probably best known as the real 'voice' of Kay Kendall in Genevieve.
@j-jericho said in Conjecture, Please:
@seth-of-lagos said in Conjecture, Please:
@j-jericho said in Conjecture, Please:
Who played lead trumpet in Edwin Astley's orchestra on the original "Danger Man" theme (0:00 - 4:53)?
Are you sure that the original (ie series 1) Danger Man theme was played by Edwin Astley's orchestra?
My Dad had the Parlophone recording (1961?) by the Red Price Combo - a one hit wonder. But Red Price played (tenor sax) mainly with Ted Heath so maybe (going off links like https://www.discogs.com/master/576628-Ted-Heath-And-His-Music-Ted-Heath-Recalls-The-Fabulous-Dorseys) one might speculate Bert Ezard?, Bobby Pratt? Duncan Campbell?, Eddie Blair?
I was hoping you'd respond, since you're familiar with that part of the world (and at least one other) and the approximate time frame, that you would have some insight into my question.
Edwin Astley wrote both "Theme From Danger Man" and "High Wire" for the series. I would think that since he had his own orchestra and used it for all the musical accompaniment for the program, that he would have used it for the themes as well. His orchestra did play "High Wire", and to my ear it has the same continuity of sound as "Theme" and "The Saint", unlike other recordings by Red Price, Ted Heath, and others who covered the tunes, and with whom the players you mentioned were associated.
It just now occurred to me that Edwin Astley and John Barry created very similar sounds (at least the way I hear their arrangements). I wonder if there were musicians who played in both men's orchestras....
Not really. The lone trumpeter in the John Barry Seven was John Barry, and through that period he was under contract to Columbia.
Quoting from https://en.wikipedia.org/wiki/Danger_Man:
"Singles
1961 – "Theme from Danger Man", The Red Price Combo (main theme used in the 1st Series) – Parlophone 45 R 4789
1964 – Danger Man "High Wire", The Bob Leaper Orchestra (alternative main theme, not used in any episodes. Features electric piano) – PYE 7N 15700
1965 – Danger Man "High Wire", The Edwin Astley Orchestra (not used in series, arrangement influenced series 4 theme arrangement) – RCA 1492
1965 – Danger Man "High Wire", The Ivor Slaney Orchestra (alternative arrangement, not used in any episodes) – HMV POP 1347"
... which confirms the Red Price -Ted Heath link.
Plus Bert Ezard was something of a legend on the London sessions scene so if I were a betting man, that's where my money would go.
John Barry Seven were more Yorkshire based, and indeed John Barry was born in York a couple of months before my mother. As she was a fanatical cinema goer and Barry's father managed a bunch of local cinemas, she knew of him (though obviously denied that he knew her in any way shape or form. Ahem).
@j-jericho said in Conjecture, Please:
Who played lead trumpet in Edwin Astley's orchestra on the original "Danger Man" theme (0:00 - 4:53)?
Are you sure that the original (ie series 1) Danger Man theme was played by Edwin Astley's orchestra?
My Dad had the Parlophone recording (1961?) by the Red Price Combo - a one hit wonder. But Red Price played (tenor sax) mainly with Ted Heath so maybe (going off links like https://www.discogs.com/master/576628-Ted-Heath-And-His-Music-Ted-Heath-Recalls-The-Fabulous-Dorseys) one might speculate Bert Ezard?, Bobby Pratt? Duncan Campbell?, Eddie Blair?
@administrator Antonio Jobim
Orkestra Rumpilezz
... and I've always liked Markus Stockhausen's take on Bachianas Brasileiras No5 (Villa-Lobos)
@ssmith1226 The cover image of your video was maybe too big a clue for those of us down south who see that constellation regularly!
Could have been 'Stars in a Velvety Sky' I suppose.
@ssmith1226 I don't know the piece, but I see the crux of the problem!
...and what would christmas be without a sprinkling of Leroy Anderson
All the best to you all from sunny Lagos!
@dale-proctor said in In search of “my horn.”:
Have you ever thought of buying a cornet? The Getzen 3850 is a very good, mellow one and isn’t terribly expensive.
+1
I was too young to remember MM's stint as Principle Cornet at Black Dyke, but I found this clip of him playing 'Zelda' by Percy Code accompanied by the National Youth Brass Band, and conducted by none other than the great Harry Mortimer.
A bit of a contrast to his Star Wars stuff!
Enjoy.
@dale-proctor said in Funny story that's sort of trumpet related...:
I sat next to John Williams in a trumpet section years ago. No, not that John Williams…lol
A few years before Brassed Off, my concert band had the honour of playing a set directly after Grimethorpe had given an absolutely spellbinding, vituoso performance of the Lohengrin Prelude.
So I duly settled into the chair just vacated by THE Alan Morrison :
... and launched into Girl from Ipanema.
And that, my dear friends, is the very definition of the phrase 'from the sublime to the ridiculous'.
@administrator said in TrumpetBoards Moving Servers this Week -- Expect Disruptions.:
What the title says. Not sure when exactly but if it's down you'll know why please don't spam my email unless it's down for more than a day. Thanks!
Good move!
Until now, I'd not been able to log into the site for well over a year!