Cello Suite No. 1 in G Major: Prélude

Cello Suite No. 1 in G Major: Prélude
by J.S. Bach

[@alexzioek9680]

And there is someone who actually played it perfectly on trombone! It has to be such a difficult piece for with this instrument but here everything is clear and lucid, the articulation and intonation not even with the slightest hint of distortion which could be quite expected. Above all a beautiful interpretation and rendition. True Bach music!

[@salrandazzo287]

Magnificent. Bach would have loved it and wished he wrote it for trombone!

[@trombonedude5312]

Oh my those slurs from between the a and high gs are impressive

[@imnotrick1020]

One of the best recordings of this suite better then some cellos.

[@grandert]

Love your interpretation! I sincerely hope you record more of these suites!

[@amospulley3442]

Buttery smooth!

[@roystone9932]

Brilliant.

[@marystoneburner3619]

Sounding as marvelous as ever!

[@k.kawasaki5966]

how beautiful !!

[@EderAge17]

Excelente!!!👏👏👏👏👏

[@lordprivateer4965]

Bach is honoured. Soli Deo Gloria!

[@evcado]

Wow! Super inspiring!

[@fredericmuscat3217]

Fantastique ! 👍

[@ernestcassler2505]

Beautifully done ❤

[@Twig_Music]

Im trying to learn this right now for a recital on trombone, thank you so much for being a good ro-model!

[@grandert]

Bravo!

[@danielvulpiani1228]

Braaaavo 🎉 I’m still clapping and standing at home

[@bernardlafarge3265]

Vers nice

[@El_italiano]

😍😍

[@jonathanhoughtling7972]

Yo-Yo Mandazzo!

[@oldfishmc1619]

la du du du du du

[@piggdsbest333]

What Trombone model is this ?

[@k.s0809]

also wondering that

[@JonathanTheTrombonist]

Another trombonist called Jonathan that's playing the Cello Suite? How can this be a coincidence...

[@theoutsideguy8]

I would absolutely love to see this played on a tuba 😍

[@musicofnote1]

Best I've heard from a fellow trombonist. You can't forget you're playing a trombone, but you should be asking yourself, why a cellist would interpret this this way or that way and how that can transfer to the trombone. i might not agree with every bit of ritardando or agogic modifications, but he dared to do it and that's what counts. Bravo, maestro!

[@AROYOTROMBON]

Hola, Jonathan. ¿qué micrófono es el que usas?

[@christinaanastas7497]

What trombone is it ?

[@AROYOTROMBON]

Hi Jonathan. What microphone are you using?

[@JonathanRandazzo]

Cascade Fathead Ribbons

[@Sam-nb1rm]

What mouthpiece is this? Thanks so much!

[@JonathanRandazzo]

Custom Greg Black- basically in-between a 5G and 4G.

[@Sam-nb1rm]

@@JonathanRandazzo Oh it's Greg Black! I have the exact same thought of using a mouthpiece made by them and your reply confirmed that I should do it! Thanks a ton 🙏🏻

[@philosophicallyspeaking6463]

Only other trombonists would be so impressed by strong instrumental facility (and Johnathan does have solid technique and tone) and an affected or mannered interpretation that they would be blinded to the musical failings of this performance. That's why first trombone positions in major orchestras are still generally 'principle' and not solo positions. He predictably hesitates at the end of every bar, even when the phrase crosses it, which is literally every bar! The first note of each bar 'is' the last note of each phrase! That's where the breath goes. There is a reason why cellists, who don't need to breathe ('but should'), don't stutter and stammer their way through this piece one bar at a time to prove their...musical introspection. Further, the 'need' of a breath doesn't justify taking one, however much you might attempt to setup expectation of it by excessive use of regularly occurring rallentando. It makes no musical sense. This doesn't sound like a piece, it sounds like explorations of harmony through arpeggiated chords one bar at a time. The idea of a study is to develop technique that you might come to make music, not celebrate the mechanisms that define technical challenge by drawing peoples attention to them that 'you' might be better appreciated 'over', rather than, and instead of the music, for...wrestling it into submission, in which case when you win, you lose...musically. When I played these, I sacrificed the...consequence of my 'apparent' tone and volume in order to allow me to 'reach'' the music that is out of reach otherwise. Failing musically is not an option, but playing more quietly is! Playing these pieces at a volume 'sufficient' to music (such as is sufficient enough to any of the 'other' principle wind players, instead of shouting your message in the style given to the orchestral trombone's usual voice, is the the only way. You must subvert your want of appreciation for your play to your obligation to make music. A lesson with a cellist would solve the major problems...while no doubt creating others.