1 J S Bach cello suite n 1 Prelude Massimo La Rosa trombonist

[@JonathanTheTrombonist]

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

[@nelsongrimaldi3926]

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

[@robertoboccacci]

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

[@elkartian]

Wonderful, the Trombone professer at Kneller Hall said students could spend a year just playing the Bach Cello suites, lovely music that will develop your breath control, phrasing, range, Articulation, legato, sound and stamina

[@CelticMedievalGuitar]

GREAT INTERPRETATION MY MUSICIAN FRIEND con qualsiasi strumento la musica di Bach è sempre gradevole e magica

[@PeterSteinerOfficial]

Wow, fantastico!

[@piunchio]

Bravo Massimo!!!

[@claudiobarbieri8391]

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

[@diegovassallo5612]

Massimo sei bravissimo

[@domenicodecaro6865]

Bellissimo suono Maestro La Rosa

[@faustomiglioresi5800]

più lo Sento e più è emozione!!

[@MichaelDodson3210]

Bravo!!!

[@孔德辉-g2n]

That is fantastic !!

[@louloutrombone]

Excellent!

[@hellingtongoncalves3068]

Magnífico!

[@kenmondrustcon]

This sounds excellent

[@cristodelgado3104]

Sublime!

[@extrasaucebeats]

Beautiful! Bravo!

[@jorgefn]

Bravissimo

[@salvatorenoto7099]

Complimenti per l'esecuzione Magistrale!

[@philosophicallyspeaking6463]

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.

[@shiresedwards4381]

Класс!!!)

[@feelgoodcharlie3822]

It's too bad that one thing happened though.