Hi,
Please feel free to explore my CONCERTO FOR TROMBONE QUARTET AND WIND ENSEMBLE (2010).
https://soundcloud.com/ericrich/sets/co ... c-richards
Many thanks to Dr. Bradley Genevro and the University of Texas at El Paso Wind Symphony for this excellent recording!
Solo Quartet:
Barry Hearn, National Symphony Orchestra
Richard Harris, New York City
Dr. Pete Madsen, Professor of Trombone and Director of Jazz Studies-University of Nebraska at Omaha
Dr. Steve Wilson, Chair of the Department of Music and Professor of Trombone at the University of Texas at El Paso.
A Demo Folder of the Score and Part PDFs can be found here:
https://www.dropbox.com/sh/mhrrdi6vqnu1 ... 9OXaa?dl=0
This work was commissioned for the Continental Trombone Quartet (Peter Madsen, Mark Sheridan-Rabideau, Doug Farwell, and Steve Wilson) by a consortium of four university band programs and one solo artist: the University of Nebraska-Lincoln, the University of Nebraska at Omaha, the University of Texas at El Paso, the University of Wyoming and Dr. Doug Farwell of Valdosta State University. The piece was premiered on April 6, 2010 by the University of Texas at El Paso Wind Symphony under the direction of Dr. Ron Hufstader.
In regard to movement structure and relationship, the concerto follows a typical three movement global design:
I. Molto ritmico
The compositional goal of the first movement is the exposition and interplay of two primary themes. The language of two of my heroes, Bartok and Stravinsky, influences the highly rhythmic and angular first theme. The second theme is presented in a favourite context of the composer, a legato, “cantabile” theme set over a pulsing, “percolating” rhythmic background. Influence of guitarist/composer Pat Metheny can clearly be heard in the second theme. The solo quartet presents the thematic material and then performs variations and commentary on the themes.
II. Molto expressivo
In much of the music of the Western Common Practice, the musical role of the trombone in ensemble music is closely aligned with the voice, either in terms of support (e.g. doubling) or in function as a representation of the human voice. The intent of the second movement is to explore the beautiful, singing possibilities of the bass trombone. This movement emerged as an aria for bass trombone, trombone quartet and wind ensemble. The movement is framed by opening and closing cadenzas for bass trombone and features the solo quartet performing a chorale that serves as the primary thematic material. Lush, shimmering chords reminiscent of Impressionist orchestral gestures as well as the writing of master jazz orchestrator Gil Evans are prevalent in the accompanying ensemble texture
III. Molto fuoco e l’anima
The trombone plays a major role in the various tributaries of Afro-Cuban, Puerto Rican, and Brazilian music (e.g. son, mambo, bomba, plena, samba, partido alto, et al), and trombone artists such as Juan Pablo Torres, Raul de Souza, Papo Vasquez, and Conrad Herwig are well known among aficionados of these genres. Since many Latin bands use four trombones as the horn section to compliment the singers and rhythm section, I decided to craft an energetic final movement using the solo quartet in a similar way. My goal was to create something sounding like “Bela Bartok meets Willie Colon.”
The movement begins with a set of solo cadenzas set over lush simmering chords in the ensemble. These chords and voicings serve to bridge timbral continuity from the second movement. The quartet then leads the ensemble into a strong mambo-based groove that underpins the most of the third movement. A second contrasting theme is introduced when instrumentalists of the wind ensemble are asked to sing a chant-like melody set over a samba groove in triple meter. A stronger theme and groove return in the ensemble giving the quartet an opportunity to heartily comment upon what has occurred. This texture intensifies to the final raucously improvised cadenza for all members of the quartet.
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Don't hesitate to reach out with any questions!
Best,
Eric