Precioso, brillante. Mucho trabajo para sacarle esos sonidos al trombón. Mi enhorabuena a tod@s. Un saludo Ximo

Bravo !!!!

Fantástico, enhorabuena a los dos. Sois unos auténticos Cracks

Molt bona explicació Ximo. M'ha encantat. Sóc un enamorat de la música de Mahler.

Gracias Ximo por inspirarnos

Perfect!

Excelente maestro!! Felicitaciones!

Preciosa música y maravillosa interpretación. Chapó Ximo.

Bravo, Ximo!

Stop glissing

Bravissimo

En aquestos moments tan difícils,fá plorar escoltar algo tan emotiu que possa els pels de punta. Enhorabona!!

si on joue comme ça dans un concours d'orchestre on est recalé c'est sur

Amazing. You have to watch the conductor and it is clear that he wants the trombonist to play those slides. His left arm movements are very specific and clear. Loved it and the history behind it.

Los trombones son instrumentos majestuosos!

The trombones are truly majestic instruments!

Leider verstehe ich nicht genug spanisch. Aber ER hat kaiert, was hinter der Musik steht.

entonces quedamos hoy?

Вольная трактовка)))

Fun and yet, hopelessly stupid. Unless Bolero is about a drunken sailor. In that case, bravo.

Bravo!!!

32 2th Trombone players didn´t like the solo

Ravel wrote glisses in specific spots on the music, why add more? And so many lolol

A very interesting piece. Thank you colleague for the video and performance! Do you still have the notes of this Toccata? You could share.

Totally out of context - fail!

Me da la sensación de que es más difícil así que tocarlo standard

Excelente explicación de Mozart y la obra, me encantó. Y eso que ni tengo Trombón, jajajaja, pero me encanta ese réquiem. Saludos de Ciudad de México 🇲🇽 amigoo

Ximo Glissando

Buenísimo gracias por su explicación maestro genial

genial, espero mas videos asi, genial

cual es el solo mas importante para el trombón en esta obra?

Excelente!!!

Le dernier mouvement est trop rapide et ne respecte pas le tempo voulu par Nino Rota.

id like it a bit faster personally, but nice

Bravo! Seldom does it happen that a trombonist has the courage, and musical confidence to be a...trombonist first (or second for that matter) on route to fulfilling their musical obligation; by which I mean, an individual who celebrates the unique potential of their instrument in context of musicianship. If ever there was a trombone excerpt that invited this kind of treatment, this is surely it. String players of all types employ and deploy glissandi as a valid form or ornamentation that imparts emotional pathos and authority to the melodic line without requirement by the score. And even when they do it out of need to service an impossibility of fingering or fretting, they do it without guilt or fear of technical reproach. I have written at length on the universal low-musical esteem, especially as it manifests itself in safe, boring, robotic performances, that is bred into trombonists by faculty of poor instrumental husbandry. No other instrument in the orchestra is 'trained' to instrumentally embedded musical conservatism as are trombonists, despite their obligation to professional musical pronouncement. The slide is not a disadvantage unless it is your goal to play at speed with ease. That being the case, I suggest you take up another instrument, because even the best-of-the-best, whether they be classical or commercial trombonists, sound so unmusical at speed that it negates their best effort relative to a performance by even a mean or mediocre performer on keyed or valved instruments. As a result, it has come to pass that many conductors don't insist or even license trombonists with the same interpretive latitude that they afford other principles (though they quietly lament its failing). And its little wonder, given most orchestral trombonist's preoccupation with volume when soloing. Imagine if the other principles in the orchestra put volume ahead of musicianship. Bravo to the conductor for allowing this...'evocative' re-telling of an otherwise pointless assignment of this particular form of the melody to the trombone's potential; I feel that Ravel had purpose in not choosing the partnered theme for this particular statement, so it would be...unmusical not to explore the obligation we all feel compelled to but instead ignore, in contract with 'good' taste. I doubt there is a string player alive that fears criticism by a trombonist! I doubt anyone other than a trombonist would come here to hear to hear a trombonist play what is regarded within the rest of the orchestra as being a banal voice in the greater offering of the piece. And, ironically, I doubt anyone other than a trombonist would find fault with this...otherwise musically obvious correctness! Tim P.S. It has been posted by Ximo that this is apparently the way it was performed at the premier, with Ravel conducting, who insisted on its renderings and colorations. What stronger license, authority and obligation do you need than to obey the edicts not of the score, but of the man who wrote the score, who was expecting...musicianship of a different order.

El mejor sonido que mi oídos han escuchado en el trombón, un honor ser su alumno Maestro, saludos desde Mexico.

Those trumpets sitting there crossing their arms like angry children that didnt get the solo part... hahaha, just a joke

That isn’t how it’s written.

Bravo!!

This is a perfect theme for a bad guy.

The start of symphony always thrilled me...Great!!!!!!!!!!!!!!!!!

Pensé que era un fail xd

Espectacular, Mestre Vicedo!!

日本人いませんかー？

The person who arranged this was on crack. A 3/2 time, has a 9 measure bass drum roll, and a bass drum solo. Whyyyy?

Very, very good! Te’stimu, baby! Perdí la partitura de Mippy hace unos 40 años, me trajiste buenos recuerdos! Debía de haber sido muy simpático el perrito del hermano Burtie, desde luego.

I like the originality. It’s was fun. Amazing tone on the first note as well.

What a cough....

3:55 mouth fucked by mouthpiece