Thr best bach suite trombone version I ever heard, one with the less awkwardness compare to all other I ever heard, bravo🎉🎉🎉🎉
@Bc232klm4 ай бұрын
Massimo is an abuser.
@feelgoodcharlie38224 ай бұрын
It's too bad about that one thing.
@kenmondrustcon7 ай бұрын
This sounds excellent
@pavelkirsanov83558 ай бұрын
Diese fantastische Artikulation. Es klingt so toll, dass man das in Worten nicht fassen kann.
@feelgoodcharlie382210 ай бұрын
It's too bad that one thing happened though.
@SabadorMolins-sv5bm10 ай бұрын
Bravooo
@MichaelDodson321011 ай бұрын
Bravo!!!
@faustomiglioresi580011 ай бұрын
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
@domenicodecaro6865 Жыл бұрын
Bellissimo suono Maestro La Rosa
@philosophicallyspeaking6463 Жыл бұрын
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.
@philosophicallyspeaking6463 Жыл бұрын
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.
@philosophicallyspeaking6463 Жыл бұрын
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.
@enzoderosa3611 Жыл бұрын
Fantastico. ...bellissimo.... bravissimo ❤❤❤❤
@piunchio Жыл бұрын
Bravo Massimo!!!
@extrasaucebeats Жыл бұрын
Beautiful! Bravo!
@salvatorenoto7099 Жыл бұрын
Complimenti per l'esecuzione Magistrale!
@diegovassallo5612 Жыл бұрын
Massimo sei bravissimo
@faustomiglioresi5800 Жыл бұрын
Senza Parole,Grande Massimo
@faustomiglioresi5800 Жыл бұрын
più lo Sento e più è emozione!!
@carolepaul8390 Жыл бұрын
Terrific! If only Bach could hear this.
@PeterSteinerOfficial2 жыл бұрын
Wow, fantastico!
@faustomiglioresi58002 жыл бұрын
Eleganza che Emoziona!
@philosophicallyspeaking64632 жыл бұрын
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.
@user-cc2ix1kg5k2 жыл бұрын
Don't forget you have a Channel on KZbin
@user-cc2ix1kg5k2 жыл бұрын
Massimo, we need your new videos
@louloutrombone2 жыл бұрын
Excellent!
@hellingtongoncalves30682 жыл бұрын
Magnífico!
@antoninolarosa57832 жыл бұрын
GRANDE Massimo ,e' un' emozione ascoltarti.Complimenti
@yohangouraantoni39032 жыл бұрын
sublime
@carolepaul83902 жыл бұрын
Love that sound.
@ELBERRJ2 жыл бұрын
You are one of a kind. Thank you maestro.
@giuseppeparabita31473 жыл бұрын
Bravo!👍🙏
@robertoboccacci3 жыл бұрын
Su questa suite ogni trombonista al mondo ha messo le mani almeno una volta, ma così bella non l’ho mai ascoltata!!!
@salvatorescannavino48663 жыл бұрын
Eccezionale
@MuchSmarterThanYou3 жыл бұрын
This is beautiful. I’ve been practicing this for a while, you’ve given me inspiration for how this should be played.
@sommatinolerecensioni51873 жыл бұрын
Eccellente
@shiresedwards43813 жыл бұрын
Класс!!!)
@simone_euphonium3 жыл бұрын
Fraseggio e intonazione fantastica, accordo sul primo movimento della quarta battuta incredibile! Complimenti Maestro!
@claudiobarbieri83913 жыл бұрын
Bravo Massimo!....un bellissimo servizio alla musica e al trombone!
@timboyer87833 жыл бұрын
Just goes to show you can be an amazing musician but a garbage person.
@user-cc2ix1kg5k3 жыл бұрын
Amazing
@kuangli1153 жыл бұрын
Beautiful! Where to purchase this arrangement?
@DemBone933 жыл бұрын
You can find them here! bomabrass.com/Site/Sheet_Music.html
@user-cc2ix1kg5k3 жыл бұрын
That is fantastic !!
@adriannalli60143 жыл бұрын
Bellísimo!!
@CelticMedievalGuitar3 жыл бұрын
YOU ARE A GENIUS !! a million like and immediately sub ciao Massimo è piacere averti scoperto, passa a trovarmi 😊
@CelticMedievalGuitar3 жыл бұрын
GREAT INTERPRETATION MY MUSICIAN FRIEND con qualsiasi strumento la musica di Bach è sempre gradevole e magica
@giovannimiceli55203 жыл бұрын
Really touching...thank you for sharing you heart with all of us 🐈