Questa suite la sto studiando autonomamente e ho deciso di piazzare ogni respiro dove lo piazza lei, maestro. Bellissima interpretazione 👏

Uno dei miei compositori preferiti, complimenti per la purezza del suono e l'interpretazione, bravo 👏🏻

Que som maravilhoso! Parabéns!

Потрясающе! Великолепное исполнение!!!

That was lovely. Bravissimo!

Thr best bach suite trombone version I ever heard, one with the less awkwardness compare to all other I ever heard, bravo🎉🎉🎉🎉

Massimo is an abuser.

It's too bad about that one thing.

This sounds excellent

Diese fantastische Artikulation. Es klingt so toll, dass man das in Worten nicht fassen kann.

It's too bad that one thing happened though.

Bravooo

Bravo!!!

Nelle Suites di Bach c'è Tanta Tecnica ,la Grande Maestria di @MassimoLaRosa è nascondere la tecnica del Trombone e fare emergere la Musica ,quasi non ti accorgi che è un Trombone o meglio è pura musica

Bellissimo suono Maestro La Rosa

Congratulations! You've achieved what Bach expected and intended with these pieces: You persisted with it until you defeated the technique to emerge from the other end making...music; the technique having become inconsequential and consequently inaudible. It is a rare thing for a trombonist to make music that a 'non' trombonist would be interested in. 'All' other trombone performances of these pieces I've heard heard on KZbin, including those by other fine orchestral players, amount to technical traversals, albeit impressive ones, if however only to other trombonists trained to forgive the challenges thought to be insurmountably inherent to the instrument because of the slide. But that is untrue! The mid-century method of trombone husbandry too quickly in its development excused the instruments 'accepted' limitations and musical 'awkwardness' (that which is propagated as it were obligation) and has come to embrace its absolution, to better service its ensemble or section role and responsibilities in large orchestral settings (trombone choirs not withstanding). However, your performances routinely prove that the existing trombone performance-paradigm is infected by 'unnecessary'...allowances and forgivenesses such that, in general, the trombone's method of play is still insufficient to generating 'solo' worthy musicianship (the vast majority, if not all, of the trombone's solo repertoire being second rate). Only trombonists listen to trombone performances. And as things stand, trombone performance has not yet risen soloistically to the challenges of surmounting its own 'imagined' limitations, to become worthy of the moniker 'solo' (someone who has realized a technique that allows music without recourse to excuse) rather than being a simple technical principle. Other instrumentalists long ago defeated their 'state of play' by advancing their technique through virtuosity (not limited to speed) such that their play is superior to the challenge of any repertoire. Its is long past time that trombonists stopped focusing on just playing louder (despite that actual obligation) and rose to the challenge of establishing a 'new' performance paradigm.

Congratulations! You've achieved what Bach expected and intended with these pieces: You persisted with it until you defeated the technique to emerge from the other end making...music; the technique having become inconsequential and consequently inaudible. It is a rare thing for a trombonist to make music that a 'non' trombonist would be interested in. 'All' other trombone performances of these pieces I've heard heard on KZbin, including those by other fine orchestral players, amount to technical traversals, albeit impressive ones, if however only to other trombonists trained to forgive the challenges thought to be insurmountably inherent to the instrument because of the slide. But that is untrue! The mid-century method of trombone husbandry too quickly in its development excused the instruments 'accepted' limitations and musical 'awkwardness' (that which is propagated as it were obligation) and has come to embrace its absolution, to better service its ensemble or section role and responsibilities in large orchestral settings (trombone choirs not withstanding). However, your performances routinely prove that the existing trombone performance-paradigm is infected by 'unnecessary'...allowances and forgivenesses such that, in general, the trombone's method of play is still insufficient to generating 'solo' worthy musicianship (the vast majority, if not all, of the trombone's solo repertoire being second rate). Only trombonists listen to trombone performances. And as things stand, trombone performance has not yet risen soloistically to the challenges of surmounting its own 'imagined' limitations, to become worthy of the moniker 'solo' (someone who has realized a technique that allows music without recourse to excuse) rather than being a simple technical principle. Other instrumentalists long ago defeated their 'state of play' by advancing their technique through virtuosity (not limited to speed) such that their play is superior to the challenge of any repertoire. Its is long past time that trombonists stopped focusing on just playing louder (despite that actual obligation) and rose to the challenge of establishing a 'new' performance paradigm.

Congratulations! You've achieved what Bach expected and intended with these pieces: You persisted with it until you defeated the technique to emerge from the other end making...music; the technique having become inconsequential and consequently inaudible. It is a rare thing for a trombonist to make music that a 'non' trombonist would be interested in. 'All' other trombone performances of these pieces I've heard heard on KZbin, including those by other fine orchestral players, amount to technical traversals, albeit impressive ones, if however only to other trombonists trained to forgive the challenges thought to be insurmountably inherent to the instrument because of the slide. But that is untrue! The mid-century method of trombone husbandry too quickly in its development excused the instruments 'accepted' limitations and musical 'awkwardness' (that which is propagated as it were obligation) and has come to embrace its absolution, to better service its ensemble or section role and responsibilities in large orchestral settings (trombone choirs not withstanding). However, your performances routinely prove that the existing trombone performance-paradigm is infected by 'unnecessary'...allowances and forgivenesses such that, in general, the trombone's method of play is still insufficient to generating 'solo' worthy musicianship (the vast majority, if not all, of the trombone's solo repertoire being second rate). Only trombonists listen to trombone performances. And as things stand, trombone performance has not yet risen soloistically to the challenges of surmounting its own 'imagined' limitations, to become worthy of the moniker 'solo' (someone who has realized a technique that allows music without recourse to excuse) rather than being a simple technical principle. Other instrumentalists long ago defeated their 'state of play' by advancing their technique through virtuosity (not limited to speed) such that their play is superior to the challenge of any repertoire. Its is long past time that trombonists stopped focusing on just playing louder (despite that actual obligation) and rose to the challenge of establishing a 'new' performance paradigm.

Fantastico. ...bellissimo.... bravissimo ❤❤❤❤

Bravo Massimo!!!

Beautiful! Bravo!

Complimenti per l'esecuzione Magistrale!

Massimo sei bravissimo

Senza Parole,Grande Massimo

più lo Sento e più è emozione!!

Terrific! If only Bach could hear this.

Wow, fantastico!

Eleganza che Emoziona!

Congratulations! You've achieved what Bach expected and intended with these pieces: You persisted with it until you defeated the technique to emerge from the other end making...music; the technique having become inconsequential and consequently inaudible. It is a rare thing for a trombonist to make music that a 'non' trombonist would be interested in. 'All' other trombone performances of these pieces I've heard heard on KZbin, including those by other fine orchestral players, amount to technical traversals, albeit impressive ones, if however only to other trombonists trained to forgive the challenges thought to be insurmountably inherent to the instrument because of the slide. But that is untrue! The mid-century method of trombone husbandry too quickly in its development excused the instruments 'accepted' limitations and musical 'awkwardness' (that which is propagated as it were obligation) and has come to embrace its absolution, to better service its ensemble or section role and responsibilities in large orchestral settings (trombone choirs not withstanding). However, your performances routinely prove that the existing trombone performance-paradigm is infected by 'unnecessary'...allowances and forgivenesses such that, in general, the trombone's method of play is still insufficient to generating 'solo' worthy musicianship (the vast majority, if not all, of the trombone's solo repertoire being second rate). Only trombonists listen to trombone performances. And as things stand, trombone performance has not yet risen soloistically to the challenges of surmounting its own 'imagined' limitations, to become worthy of the moniker 'solo' (someone who has realized a technique that allows music without recourse to excuse) rather than being a simple technical principle. Other instrumentalists long ago defeated their 'state of play' by advancing their technique through virtuosity (not limited to speed) such that their play is superior to the challenge of any repertoire. Its is long past time that trombonists stopped focusing on just playing louder (despite that actual obligation) and rose to the challenge of establishing a 'new' performance paradigm.

Don't forget you have a Channel on KZbin

Massimo, we need your new videos

Excellent!

Magnífico!

GRANDE Massimo ,e' un' emozione ascoltarti.Complimenti

sublime

Love that sound.

You are one of a kind. Thank you maestro.

Bravo!👍🙏

Su questa suite ogni trombonista al mondo ha messo le mani almeno una volta, ma così bella non l’ho mai ascoltata!!!

Eccezionale

This is beautiful. I’ve been practicing this for a while, you’ve given me inspiration for how this should be played.

Eccellente

Класс!!!)

Fraseggio e intonazione fantastica, accordo sul primo movimento della quarta battuta incredibile! Complimenti Maestro!

Bravo Massimo!....un bellissimo servizio alla musica e al trombone!

Just goes to show you can be an amazing musician but a garbage person.

Amazing

Beautiful! Where to purchase this arrangement?

That is fantastic !!

Bellísimo!!