Orchestral Excerpts, Flute. Leonore, Brahms 4th Symphony, Midsummer, Mozart Concerto in G

[ionakana83]

Sorry, let me clarify myself. On the Brahms diddy, it seems to be clipped shorter than usual. I agree its good, damn good, but that stood out more than anything else.

[ionakana83]

Other than that, every thig else was amazingly perfect, very well done on the Mendelssohn Midsummers ND. Scherzo..

[ThomasHorter]

@ionakana83 thanks.

[ionakana83]

and like wise with the pick up into the 3rd beat.. It sounds as if your throwing up on the last notes before the rests.. Make them longer and sweeter.. That's why it says espressivo at the beginning of the solo and piano.. What are the hair pins for? Exaggeration? I think not.

[ionakana83]

Honestly to tell you the truth, why would I be jealous at a mediocre audition? I'm just frustrated at the people they've selected.. But then again the European sound in Much, Much different than the American Sound.. And in your diddy, in the Brahms in bars 103 to the double bar. I wouldn't have treated the eighth note patterns especially on beat 1 of 103 you should have taken more time on the last eighth..

[ThomasHorter]

@ionakana83 but taking time means playing out of time, which is impossible to do in the orchestra. Even says it in the masterclass video for the flute audition.

[ThomasHorter]

@ionakana83 the point of the solo is to have expression without messing up the tempo... that is why it is on every audition. I play it, because I like it that way. Many european flutist have played it the same way I did but in very early recordings. (Which is closer to Brahms actually) I am willing to do whatever a conductor wants but I doubt they will ever say to "take time" in this solo. Maybe in something like Debussy's Faun but that is because the flute is alone.

[pickypiccolo]

I enjoyed your audition...definitely a unique sound. Good luck!!

[mattimoso]

Sounds Great! I've been voting for you and hope you get the position. I love your pure sound, and very clear phrasing, which I think is a good thing to have and makes the performance convicing. - Matti

[adri894oo]

great job! i'm sure you will travel to sydney

congratulations for a spanish bassoonist

[jdtba24]

Sounds great I voted for ya check out my tuba audition :)

[flutist1989]

Wow! One of the only good flute auditions! Clearly the only one that knows how to play in an orchestra and with dynamics! Good rhythm, in tune and a wonderful blending orchestral sound. Would be hard to beat in an actual audition, however who knows with this crazy audition though...

[ThomasHorter]

@flutist1989 Thanks!! =)

[ThomasHorter]

@katykhaos74 haha... It's my webcam! Not the flute!

[pcannon52]

I have never seen a left-handed flute!

[FALAUT101]

For instance, the tempi on the Leonora Allegro and Mendelsohn Scherzo you may be called to play might actually be quite faster, even if you feel the composers meant for it to be as slow as you played it. Just my 2 cent's worth. Also, along with the natural inflextion of the tone, vibrato can be incoorporated in various degrees. No one can say for sure that no vibrato was ever used or to what degree some of it may have been incorporated in say Baroque or Classical music.

[ThomasHorter]

@FALAUT101 Actually 18th century music is surely without vibrato. There were other french ornamentations... The point of authentic playing is to not play what the players sounded like in that time.... but instead what the composer instructed for in that time. In an audition, I have no instruction. So I can do what I want. I prefer this way... I like what the composer wrote! but of course the conductor is "god." I just do what I'm told in order to play!

[FALAUT101]

@ThomasHorter Makes sense. Glad to hear you are flexible. I tried playing Bach on a wood flute without vibrato and it sounded quite authentic. I can do it both ways, but I guess most people have come to expect at least some vibrato to color the tone. Nowadays you have 'period' ensembles that do their best to play as the composer intended. I enjoy their performances as well. Afterall, it's good music, played well! Do you know of any good recordings of the Mozart concerti in that style?

[DJTranceMark]

Nice! I especially liked the part where you set your flute on fire and started shredding like a mad man!

[Jennifersboyd]

You have a nice sound and a very different interpretation on some of the pices which is fine. I maybe would have liked a little vibrato in places but good audition! please check out mine if you have time!

[ninaflute]

Very nice. Your Mozart is different from how I play it, but quite lovely.

[ThomasHorter]

@ninaflute Thanks for watching Nina!

[SuperAleaiactaest]

whycome is there no vibrato? no make sense to my stupid ears!

[ThomasHorter]

@SuperAleaiactaest Because I'm an authentic performer. Vibrato wasn't used on the flute until the French recording industry... by Marcel Moyse in about 1915-1920. (or so he reports even though Maquarre was using it in the Phil. Orchestra around that same time) So I don't use vibrato on any pieces composed before then. It makes more sense to the expression of the composer. (in my humble opinion) Vibrato wasn't popular until after Rampal and Baker and that whole school of thought. Long Answer...

[ThomasHorter]

@ThomasHorter Forgot to add the "point" of that. To me, it is important to play in a way that the composer would have heard the flute in that time, because they composed just for that! (Ex: Bach not writing an high F's, because they didn't really work on the one keyed flutes) It is important to play in a way that the composer would actually recognize the piece... It is important to have interpretation guided by knowledge, the less knowledge, the further it gets away from the original expression.

[FALAUT101]

@ThomasHorter One does need to be aware of the muscial style and period. We also need to be prepared to be flexible in our interpretation of music. In Sydney, would you be willing to play however demanded of you by the conductor? Will you enable your sound to blend with the rest of the wind section? These are important factors to consider as well. The performance of music is not an exact science and guided by knowledge, but also experience, common sense, artistry and good taste.