Bolero Ravel Ximo Vicedo

[@brassedoff2437]

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.

[@davidrockefeller2007]

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

[@ivanjovanovic7419]

Bravo!!!

[@Godooable]

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

[@philosophicallyspeaking6463]

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.

[@marksaylor252]

"poor instrumental husbandry", you write with flare! I love the debate. About the only debate I've heard about this solo is whether or not to rearticulate before the written glissandos.

[@ximovicedo]

I agree with you. Thank you very much for your comment. I played this video out of curiosity about what Ravel wanted and so the Maestro asked me to play it this way, and also, it was in rehearsal where I had to change many positions and the way to play this diferent solo in 2 minutes. There is a recording of the premiere and they play it like this. I know we could be talking about this solo for a long time, diversity of opinions and but this is what happened. Thanks. Ximo Vicedo

[@ximovicedo]

@Philosophically Speaking I agree with you. Thank you very much for your comment. I played this video out of curiosity about what Ravel wanted and so the Maestro asked me to play it this way, and also, it was in rehearsal where I had to change many positions and the way to play this diferent solo in 2 minutes. There is a recording of the premiere and they play it like this. I know we could be talking about this solo for a long time, diversity of opinions and but this is what happened. Thanks. Ximo Vicedo

[@AlexeyFomin59]

Вольная трактовка)))

[@AlexeyFomin59]

Через чур, вульгарно очень... 😮 И часто, не попадают в ре бемоль нижнюю...

[@philippemichelot9232]

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

[@ximovicedo]

Toute la raison. Mais cette fois, c'est le Maestro qui m'a demandé de le jouer ainsi, comme lors de la première du Boléro où le professeur était Ravel lui-même. Le tromboniste était Lafosse et il y a un enregistrement où on peut entendre qu'il fait comme ça. Mais tu as tout à fait raison, si on le joue comme ça dans un concours d'orchestre.....

[@archiestanton2767]

Ximo Glissando

Pensé que era un fail xd

[@ximovicedo]

Goku kakaroto no lo fue... el maestro me lo pidió de esta manera.

[@dm_99]

音がふぉ〜んってなっとるううう

[@trikecat5172]

指揮者がそのように演奏するように指示したからです。 説明文に書いてありますよ。がんばって英語を読みましょう。 作曲者のラベルは，初演時に大げさなグリッサンド（音をスライドさせる奏法）をトロンボーン奏者に要求しました。 ジャズトロンボーン奏者のトミー・ドーシーの奏法をイメージしたからです。 現にボレロの初演の録音を聴くとその様子がわかります。 このビデオの演奏でも，指揮者のマルチネス氏が同じように要求したようです。

[@kris-yp6yj]

Que original!

[@ximovicedo]

kris asi fue, gracias por su comentario

[@danielm17]

id like it a bit faster personally, but nice

[@carlosblanes1931]

Espectacular, Mestre Vicedo!!

[@cristodelgado3104]

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

[@cumbiadelsur4965]

Si se nota que se le complicó más la nota final llegó sin aire...

[@vinnikodiak4779]

Stop glissing

[@ximovicedo]

I didn't want to play it like that, but were indications from the Maestro.

[@walkerpercy8702]

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

[@spitfire5630]

That isn’t how it’s written.

[@ximovicedo]

I know, but isn’t my version...is a Maestro’s version. The first performance you Ravel the trombonist plays the same, Ravel was a conductor and demanded this version.

[@philosophicallyspeaking6463]

Broavo Ximo, See my reply above. You impress me with your courage and musicianship. I wanted to play it in a similar fashion on many occassions having made a similar argument myself to no avail; the conductor hadn't the courage. Tim

[@xkay-six1845]

Just because it’s written/not written a certain way doesn’t mean it cannot be played that way. Mr. Vicedo decided to use a lot of Glissing/Portamento and spice it up a bit, which he says is how Ravel himself liked it.

[@spitfire5630]

XIMO VICEDO My comment referred to the interpretation NOT the high quality of the performance. Great sound!

[@spitfire5630]

xKAY-SIX I believe I’ve already addressed this.

[@ricardomartinez4484]

El director se parece a Robert de Niro jaja

[@santiagomontoya7181]

jajajajajaja

[@adhanda2017]

Totally out of context - fail!

[@joffrezarzosagonzales5383]

Originally this solo has been wrote with these glissandos, if you search about how was premiered in Paris by lafosse, it may surprise you!!!🤗

[@adhanda2017]

@@joffrezarzosagonzales5383 I am looking at the original 1928 manuscript score. I don't see any glissando markings..

[@ximovicedo]

@@adhanda2017 Listen the recording of premiere. It is not written like that in the score but he does play it like that (Lafosse). Musical anecdotes.