Trombone Ped and Lit

A blog exploring and reacting to a variety of pedagogy and literature for the trombone.

[rayraytrombone94-blog1]

Blog Post 10: Trombone Solos

There is so much literature out there for the solo trombone, but I’m just going to focus on three for right now. (don’t want to be TOO ambitious, ya know...) Today, we will look at the Casterede Sonatine, the Ewazen Sonata for Trombone and Piano, and the Hindemith Sonata for Trombone and Piano. 

First, let’s look at the composers for each of these pieces to get some background and a good fitting to compare these significant pieces of trombone literature. Jacques Casterede was a french composer and pianist who lived and worked in Paris for much of his life during the mid-late 1900s. He passed recently (2014), and so his work still remains very relevant to the modern trombonist. Like Casterede, Eric Ewazen’s work is also very relevant. He is an Ohio native who studied at both the Eastman School of Music and Juliard. The work of this American composer is enjoyed by many trombonists world-wide, not just those in the United States. Finally, we have Paul Hindemith. This German composer flourished in the early-mid 1900s, composing works for a variety of ensembles--small and large. 

The Casterede Sonatine, like the others, is divided into three movements: Allegro Vivo, Andante Sostenuto, and Allegro. Each movement has its own distinct characteristic. The first movement is full of energetic rhythms and a lively melody. The second movement is reminiscent of a lullaby or a somber ballad. And the third movement, while also energetic like the first, has ornamentation galore in both the trombone and piano parts. 

The three movement Ewazen Sonata has a familiar tune that is welcoming to the listener. The first movement, Allegro Maestoso, begins strong and serious but then molds into a delicate and melodious song sung by the trombone. The second movement, Adagio, is a melody for a rainy day with a low and sad trombone voice. The third movement, Allegro Giocoso, is like little bubbles of the main theme--restoring the hope that was lost in the Adagio. 

We now take a gander to the Hindemith Sonata. This momentous work’s three movements--Allegro Moderato Maestoso, Allegro Graziozo, and Allegro Pesante-Allegro Moderato Maestoso (the third and fourth movements are often played attaca)--each have their own strengths. The first movement is strong dynamically. The piece opens with a big, chromatic trombone and piano duet. The second movement is strong in mystery--the piano is delicate and twinkling, leaving the listener looking desperately for the trombone. The third and fourth movements are strong in rhythm. The piano feels like awkward footsteps trying to keep up with a majestic trombone melody. Yet, each movement is distinct from one another and embodies the tempo set for the movement.

As seen, these solos with piano for the trombone are made up of a number of movements that are characteristic of both the composer’s background as well as the time period in which it was composed. There are a number of other works for trombone and piano, so I encourage you to make your own inquiries. Check out the following solos to get started: Saint-Saens- Cavatine, Op. 144, Bozza- Ballade, and Guilmant- Morceau Symphonique. Have fun and happy listening!

Musically yours,

RayRay

[rayraytrombone94-blog1]

Blog Post 9: Anton Bruckner’s Symphony No. 4 in Eb Major

This week, we will take a look at Bruckner’s whole work. There is not one specific excerpt that we will be focusing on, since there are trombone features sprinkled throughout the whole piece. Let’s walk through some of the joys (and difficulties) of playing this magnanimous work!

Each movement features a different rhythmic motive that distinguishes it from the other movements. The first movement (SATZ) is characterized by two quarter notes followed by a quarter note triplet. This motive is passed from section to section, and from player to player at times as well. It evokes a sense of strength and urgency. This movement allows the trombonist to explore dynamic range, from triple forte to pianissimo. It definitely requires endurance from the orchestral player to be able to cut through the orchestra amid horn calls and singing trumpets. The modulation of the rhythmic motive also requires the player to anticipate where the flourishing lines are leading and thus play precisely in tune through each modulation. 

The second movement, much softer and more delicate, features a dotted eighth-sixteenth followed by a quarter note as the rhythmic motive. While this movement too explores dynamic range for the trombone, it also requires rhythmic integrity (among all players) to ensure that the dotted eighth-sixteenth note figure does not morph into a triplet. The delicate nature of the piece is overcome by the strength of the brass section at the end of the movement. At rehearsal P, the trombones truly lead the brass section and the strings echo softly and subtly (a common occurrence).

The third movement, like the first, also explores the relationship between the duple and the triplet. The scherzo’s motive is at the eighth note level, however, giving it a clear distinction from the first movement. Performing this movement requires control, a swift tongue, and powerful forward motion. The sixteenth note anacrusis to the tied eighth notes followed by eighth note triplets needs to be strong and clear. The trombones need to exude strength as they call and respond to the rest of the brass section, and are later mimicked playfully by the woodwinds and strings. The powerful and swift third movement leads into the fourth movement.

Again, the duple and triplet motive is present. At times, though, Bruckner elongates the rhythmic motive and gives the triplet to the half note; at other times to the quarter note; and even at the eighth note level. After a somewhat taxing first three movements, the brass players must continue to exude strength and power through the finale in order to bring drama to the epitome of “Romantic”.

I encourage you to listen to this work, follow along, and play along as well. It is a great masterpiece to keep in your repertoire! As always...

Musically yours,

RayRay

[rayraytrombone94-blog1]

Blog Post 8: Wagner’s Ride of the Valkyries

(Humming the Valkyries theme emphatically) Ta-da! This week we talk a look at Wagner’s famous Ride of the Valkyries trombone excerpt. We know as trombonists that this piece exudes power and energy, but how that is conveyed over a recording is sometimes a different story. Let’s compare recordings from different points in time over the recording of orchestras in order to compare how the recording process has changed over time (and thus how trombone playing is approached because of these changes).

We first turn our ears towards a recording from 1928. The Berlin Philharmonic performed this work under the conductor Hans Knappertbusch. As was the case with most older recordings, this piece was performed with a much smaller orchestra than would have been standard if not performing this piece with the purpose of recording. And because of the fact that the orchestra was recorded, the trombonists (and other brass players, but we won’t talk about them because here we only speak of trombones) had to alter their playing technique and style due to awkward recording equipment. Trombonists were not able to fully express their jovial tune in this excerpt, and clearly the piece suffers. Additionally, the timbre of the trombones is not a full fortissimo or even a true forte. They are forced to hold back and not give each note the bite and energy it deserves.

But enough of inadequate recording equipment causing literature to suffer! We turn now to a different era in recording as well as trombone playing. This second excerpt is from 1966 and it is the Vienna Philharmonic under the baton of Georg Solti (surprise, surprise!). In this recording we notice a magnanimous difference in the style of playing and the energy of the piece. As recording equipment improved, it allowed trombonists to perform with a greater variety in dynamic range and timbre changes. During this time, we also see a rise in nationality among instrumentalists. In particular, trombonists from different countries or continents developed their own sounds. As in America or Russia, the trombonists pursued a huge and full sound; whereas the English trombonists had a smaller and more delicate trombone sounds. In the recording of the Vienna Phil, we hear a strong, full, and aggressive trombone sound. The trombonists in this recording definitely led the orchestra to victory. 

Finally, we look at a more recent recording and how modern technology plays a role in trombonists’ activity in the orchestra. The 1997 recording from the Metropolitan Opera under James Levine displays yet another range of trombone sound. The trombonists in this recording did indeed play fully, loudly, and energetically; but the main difference between this sound and all the rest is that the trombones’ sound seemed to melt like butter between each of the other parts alongside it. The fortissimo bite just seemed to shimmer out of the texture, but it was not overbearing or distasteful. 

As we see, recording has allowed for a great learning curve among trombonists and performance techniques. If this trend continues, hopefully our practice gets better and better as we strive for the most accurate and, of course, most awesome sound. 

Keep in touch and check out www.tromboneexcerpts.org to make your own comparisons and to listen to additional recordings (check out the 2001 low brass masterclass recording!)

Musically yours,

RayRay 

[rayraytrombone94-blog1]

Blog Post 7: Berlioz’s Hungarian March

This orchestra excerpt is another popular one for the trombones! Filled with strength and energy, this march is also filled with rubato. As the melody marches on, the tempo slows and then returns. For this excerpt, I listened to a few recordings in order to compare how different conductors orchestrated (pun intended ;) ) these tempo changes. 

I first listened to the Cleveland Pops Orchestra conducted by Louis Lane in 1994. Talk about drama! After rehearsal number 6, Lane slows the tempo drastically as if pulling taffy. But 4 measure before the end he quickly brings it back to a swift march tempo for the big finish. From the beginning of the excerpt we also notice a dramatic accelerando that seems to meet the ritardando which seems to put the piece in slow motion. But not every orchestra performed the piece as dramatically.

The CSO under the direction of Georg Solti in 1981 created seamless transitions between tempos. While there was a slight accelerando leading to a ritardando after rehearsal 6, the tempo change seemed natural like the ebb and flow of a river. Or perhaps we should more accurately relate this to someone marching along, remembering something important, and then quickly returning the marching pace. 

The United States Marine Band took a unique interpretation of the tempo in their performance in 1995 under John Bourgeois. They kept the march tempo under control until 8 measures before rehearsal number 5, where there is a steady accelerando. The advancing pace is abruptly halted at the whole notes at measure 149! But no worries, the hurried march continues just 4 measures later. 

These are just three examples of ways to interpret tempo changes in the Hungarian March, but obviously liberty can be taken at the discretion of the conductor. Thanks again for reading! And as always, make your own comparisons and discover something new for yourself at www.tromboneexcerpts.org. 

Musically yours, 

RayRay 

[rayraytrombone94-blog1]

Blog Post 6: Grondahl Concerto Pour Trombone et Piano ou Orchestre

Okay, so I admit that this week is not a trombone excerpt. Rather, it is an adventurous trombone concerto. Each of the three movements of this concerto has its own personality; and each explores the trombone’s versatility in range, dynamic, timbre, and articulation. 

The first movement is led by the strong sixteenth notes, yet is also sprinkled with a triplet motive, both at the eighth note and sixteenth note level. It begins strong, full and sure. But as the orchestra (or piano) moves delicately away from this strong beginning, the trombone seems to follow. The strong opening figure is softened and a new melody blossoms and large rehearsal number 2. While this movement definitely requires endurance and strength, but it also requires delicacy and control. The same applies to the second movement of Launy Grandahl’s concerto.

The delicate second movement requires fluidity and seamless articulation from the player. The main motive in this movement is an eighth note anacrusis followed by a dotted eighth note, sixteenth note, eighth note and then a dotted quarter note. But while the listener is soothed by the sweet, smooth nature of the second movement, they are suddenly swept up in a bout of passion after rehearsal number 8. This swelling passion soon soothes into the original theme, sweetly flowing. 

The listener is then brought to the third movement of the concerto, reminiscent of the first yet something new calls the listeners attention. Yes, the sixteenth notes and the triplet motives return, but the third movement is almost a syncopated variation of the themes found in the first movement. The trombonist still explores a variety of dynamics and range as well as articulation, The movement accelerates and leaves the listener speechless with a joyous and powerful ending. 

Th-th-th-that’s all folks! Please listen to this concerto if you have not already! 

Musically yours,

RayRay

[rayraytrombone94-blog1]

Blog Post 5: Strauss’s Til Eulenspiegel

This short excerpt says a lot in a short amount of time. It is like one of those sudden outbursts that calms to an excited, yet pensive state--like a child who remembers something but has to wait to share it with the class until the teacher calls on him, hand bouncing and waving in the air.

For this excerpt, I focused on the subito fortissimo that quickly decrescendos to a piano. I listened to a number of recordings in order to gain a context for which to compare ways of performing this outburst in the trombone section. I noticed a general trend to make this note sort of a surprise, or rather a reaction to the surprise from the strings on the downbeat just before. This creates sort of a sneezing effect; both are unexpected, yet they happen so quickly in succession that they seem to be of the same swift movement. As in both of the Chicago Symphony Orchestra recordings (one from 1975 under Georg Solti and the other from 1990 under Daniel Barenboim), the trombone’s entrance is strongly executed, enough to make the audience jump a little. I noticed the same thing in the 1981 recording of the Royal Concergebouw Orchestra under the baton of Bernard Haitink. This trombone section was powerful and encompassing. 

In a few older recordings, however, I noticed that the subito fortissimo was more of a subtle fortissimo (quite unfortunate if you ask me). As in the 1958 Berlin Philharmonic recording, the trombones seem to react to the strings and “ease into” the fortissimo rather than beginning with a strong articulated fortissimo. I also listened to the NDR Sinfonieorchester recording from 1953 under Erich Kleiber, and I noticed that the trombones, while strong, were softer that the strings’ outburst just before them. This resulted in an entirely different effect. Rather than a “sneeze” outburst, it was like stubbing your toe. There is the initial sharp pain, and then the low moan of “Gosh darn, why didn't I see that coffee table?”.

So that’s that for this week’s trombone excerpt blog! Do not forget to check out tromboneexcerpts.org to make your own comparisons or find something new to listen to for yourself. Have a great week!

Musically yours, 

RayRay 

[rayraytrombone94-blog1]

Thanks for that, Ricky...

[rayraytrombone94-blog1]

Blog Post 4: Wagner’s Tannhauser

This week, we journey back to listen to Richard Wagner’s Tannhauser Overture. This is yet another famed excerpt for trombonists. Traditionally, the excerpts are taken from A and M, where M is an augmentation of the melody and rhythm at A. This powerful excerpt challenges a trombonists endurance/stamina, control, and rhythmic accuracy.

I took a particular interest in the stamina of the trombone sections to which I listened. I listened for fullness of note values, control, and also how sustained their sounds were throughout the whole excerpt. I listened to the Bayreuth Festival Orchestra in 1955 under Andre Cluytens, the Berlin Philharmonic from 1975 under Herbert von Karajan, the Chicago Symphony Orchestra in 1978 under Georg Solti, and finally the 1979 Vienna Philharmonic under Karl Bohm.

I think the reason that I decided to focus on stamina (in which timbre is also included) is because the first recording I listened to was the Bayreuth Festival Orchestra and I was mildly disgusted by the lack of control and the intonation issues because of a lack of endurance among the trombone section. While the excerpt started out powerful, the power exerted by the section soon waned and the result was a blast-y, separated, and out of tune version of what should have been majestic and rotund. I know that is #harsh buuuut, it is the truth.

The Berlin Phil trombone section was able to save my ears by having proper intonation (thank the trombone gods) and were able to maintain full note values through the whole excerpt. Their stamina did not seem to waver; their tone was full, rich, and on the verge of robust.

Next, the CSO (known by many to have incredible brass playing) presented a stellar performance. The trombonists had the perfect balance of brassy timbre, full note values, and overwhelming control. This excerpt is like a beefy steak sirloin that doesn’t need annny A-1 steak sauce.

Al fin, I took a listen to the Vienna Phil recording from 1979 and I was both pleased and a little disappointed. The trombone section played the excerpt absolutely beautifully and each note was a silver dollop of perfection; but they were lacking that big brassy sound that is usually found in the is excerpt. I felt that while the stamina was not an issue (the trombones maintained a full sound all the way through the excerpt), their fullness suffered. But I would much rather take a little less brassy and full until the end, than über brassy and not in tune or full (ahem...Bayreuth)

Anyways, that’s my spiel for this week! As always, please check out www.tromboneexcerpts.org for these recordings and to make your own comparisons. Keep on keepin’ on!

Musically yours,

Rayray

[rayraytrombone94-blog1]

Blog Post 3: Beethoven’s Symphony No. 5

This week, I decided to take yet a different approach. I listened to a few different examples, but I decided to hone in on just one of the examples. I listened to performances of the Berlin Philharmonic, the New York Philharmonic, the Leipzig Gewundhous Orchestra, and the Hodgepodge New York Orchestra. I of course focused on the Hodgepodge New York because a) the name makes me giggle, and b) this orchestra uniquely celebrates the creation of the New York Philharmonic.

After listening to a number of recordings, when I landed on the Hodgepodge recording, I was taken back by the jovial nature of the performance. Gunther Shuller conducted this performance in 1995, and he took a brisk tempo for this final movement. The trombones rejoiced along with the horns and trumpets on top of a bed of strings. The Hodgepodge’s performance of this excerpt evoked emotions of joy, curiosity, and lightheartedness. In this particular performance, I found it difficult to distinguish the trombone parts from the horn parts. It’s not that the sound was muddied; rather the rich and full timbres of the two instrument groups blended so splendidly that they created a timbre all its own (which, I do propose was the composer’s intention or at least desire). 

As cheerful of a name as Hodgepodge, so joyous was their performance of the last movement of Beethoven’s Fifth Symphony. It was a delight to listen to this recording and as always I encourage you to make your own comparisons and check out www.tromboneexcerpts.org. 

Musically yours,

Rayray

[rayraytrombone94-blog1]

Blog Post 2: Brahms Symphony No. 1 in Cm mvt. IV

For this excerpt I listened for and compared tone quality as well as timbre between multiple recordings. I listened to 2 American orchestras and I also listened to the Israel Philharmonic and the Vienna Philharmonic. I compared these recordings to each other and here is what I found.

I first listened to the Chicago Symphony Orchestra from 1979 with Georg Solti as the conductor (one of my favs). The trombones here were so rich and sostenuto. Each note was connected and flowed seamlessly into the next. It was like taking a bite into your Grandma Nancy’s famous cheesecake--rich, smooth, and filling. 

I then listened to the 1986 Cleveland Orchestra under the direction of Christoph von Dohnanyi. This trombone section played the soli more separated. While each note was separate, there was still a sense of direction. The timbre was strong and powerful. Each note was like a powerful step of a commanding officer that is making his way to the flowing horn solo that will seamlessly follow. 

The Israel Philharmonic played the Brahms First Symphony in 1993 under the baton of Zubin Mehta. I would describe the performance as regal. The notes were connected but lifted at the eighth rest. Their articulation was somewhere between tenuto and legato, and the timbre was rich but slightly brighter than that of the CSO recording. 

Finally, I listened to a recording of the Vienna Philharmonic which was also from 1993 and was conducted my James Levine (another one of my fav conductors). This performance was so full and fluid. It was as if the trombonists were playing the notes through honey.The notes just stuck to one another and seemed to passionately pull on one another as they lifted out of the texture of the symphony. This was a different kind of connected-ness than that of the Israel Phil or even that of the sostenuto CSO. 

I truly enjoyed listening to and comparing just a few of these recordings. Again, if you want to listen to these recordings please check out Dr. Seth Vatt’s website www.tromboneexcerpts.org. 

Thanks again for reading! 

Musically yours, 

Rayray

Also, here’s a little treat for you guys! :) 

[rayraytrombone94-blog1]

Blog Post 1: Mozart Requiem

So with the incredible work of Dr. Seth Vatt and his website, tromboneexcerpts.org, I was able to compare the performances of the trombone excerpt from Mozart’s Requiem. More specifically, I took a look at the Vienna Philharmonic and I compared 5 different performances over a span of time to compare varying interpretations from a single ensemble. Here is what I found:

I first listened to the 1956 recording under the direction of Bruno Walter. I found that the trombonist had a glissy or smeary timbre; but I was unsure if this was because of the recording quality since this was a live recording. Ironically, the trombonist did not slur any of the passage (which is an interpretation since the slur markings above the notes could be interpreted as phrase markings). It is interesting, though, that he seemed to swing the rhythm of the eighth notes at the beginning (mm. 5-6). He also played the eighth note pickup in measure 15 as a sixteenth note. 

I compared this initial recording to the 1966 recording of the Vienna Phil under the baton of Istvan Kertesz. This trombonist has a MUCH more full sound. At the beginning, he had a meaty and strong timbre. Additionally, the trombonist included a much greater dynamic contrast. He added hairpin dynamics for a number of the phrases at the beginning. The trombonist also played the rhythm in mm. 5-6 squarely, not swung as the 1956 recording had interpreted. This musician played the passage smoothly, using a softer articulation. He did not quite slur the passage, but he did connect each of the notes, using a tenuto articulation.

Next, I listed to the 1971 recording of the Mozart Requiem which was conducted by Karl Bohm. This excerpt was played in a much more legato style. The notes were very connected and smooth. The trombonist had a sweet timbre which was not as overpowering as in the 1966 recording. This trombonist did not accent any of the notes; all notes were played evenly and each was connected seamlessly. Again, this musician interpreted the eighth note pickup in measure 15 as a sixteenth note. Hmm..is this a common interpretation?

The fourth recording I listened to was from 1986 and it was conducted by Herbert Von Karajan. I would describe this recording as...rubato. The musicans (both trombonist and bassist) took liberty with the tempo, which conveyed a deeper sense of emotion. The presence of this trombonist seemed more like accompaniment rather than soloistic as in the prior recordings; he had a gentle timbre and a narrower sound.

Finally, I took a listen to the 1991 recording under the baton of the famed Georg Solti. This performance took a brisker tempo which was only further emphasized by an accelerando beginning around measure 12 or so. The trombonist put an incredible amount of space between the notes at the beginning of the excerpt, which can be argued as either dramatic or unnecessary, or anywhere in between. Like the 1956 recording, this trombonist swung the eighth notes in mm. 5-6. And again at m. 15 played the eighth note as a sixteenth note. Again ,this begs the question of whether this is a common interpretation, and why (a discussion for another time!). The timbre of this trombonist is ringing and bright. It is not as dark as prior recordings, but it is clear and sweet.

This concludes a look at the Vienna Philharmonic and the trombone excerpt from Mozart’s Requiem. Make sure to take a look at www.tromboneexcerpts.com to make your own comparisons!

Musically yours,

Rayray