October 14, 2024 | Author: Dominic Nicholas | Category:Instruments
A trombonist
Unlike the fraught history of its trumpet cousin, the trombone has not changed much in design since it emerged in the fifteenth century. With such a long and stable history one might expect a rich solo repertoire for the instrument. Unfortunately, until the early romantic period the instrument was mostly used to double other instruments and vocal lines. Things began to to change, however, in the 19th century, with the first trombone concerto written in 1837. And since then there have been some truly great solo works for the instrument. Here are our top ten.
Ok, so these works were not written for the trombone, but music this sublime demands to be stolen. And this is just what trombonists have done for years, Bach’s six crystalline masterpieces adapting remarkably well for an instrument far less agile than the cello. Each of the six suites contains a sequence of six movements, a prelude followed by a number of dances. The most famous of the is undoubtedly the first, with its ravishing, albeit tricky, Prelude.
Perhaps this ‘piece’ does not deserve to be on this list. Mozart's Tuba Mirum trombone solo is only an accompaniment to a bass solo in the opening of a movement of a much larger work for choir and orchestra, his Requiem Mass of 1791, which he left unfinished on his death. It is hard, however, to pass over this miniature gem by one of the greatest composers ever to have lived, especially as so little other classical repertoire exists for the instrument.
A work that is both a young player’s rite of passage and the bread and butter of professional players, Weber’s Romance is a trombone classic. Despite this, its provenance is uncertain. Some claim that it was originally written for bassoon, some that it is derived from an aria by the composer and was never intended for either bassoon or trombone, still others claiming that it was not by Weber at all. None of which really matters—it is a fine expressive work, giving ample opportunity for the soloist to demonstrate their beauty of tone, command of shifts of mood and controlled legato.
Ferdinand David - Trombone Concerto (1837)
Like Weber’s Romance, Ferdinand David’s Concerto is a trombone warhorse. It was originally intended as a commission for the more celebrated Felix Mendelssohn, who passed the job to his friend and colleague Ferdinand David. In three movements (Allegro maestoso, Marcia funebre and Allegro maestoso), the work is notable not just for being one of the most significant early works for the instrument, but as a work of musical depth that showcases the trombone’s virtuosic and lyrical characteristics.
Rimsky Korsakov’s Trombone Concerto in Bb (1877) is a remarkable work that demonstrates both the composer’s skill in orchestration and his unique ability to blend Russian nationalistic elements with classical forms. Though the work demands virtuosity, especially in the lively outer movements, it is not as tricky as some works on this list, and the lovely slow movement, very much the heart of the work, elevates it further beyond mere showiness.
Arthur Pryor - Blue Bells of Scotland (1899)
No list of trombone repertoire would be complete without a Theme and Variations, and Arthur Pryor’s Blue Bells of Scotland is the motherlode of them all. Arthur Pryor was himself a brilliant trombonist, understanding the instrument better than most, with the the corollary that that he knew how to push the instrument to its virtuosic limits. The work is based on the classic Scottish tune ‘Blue Bells of Scotland’, which is plainly stated after a dramatic introduction. There then follows two tricky variations and final vivace that is the ultimate test of hand, eye, tongue and lip coordination.
A single movement work lasting only seven minutes that nevertheless explores the many characteristics of the trombone. It was written by Guilmant as a contest piece for the Paris Conservatoire and has since become one of the most performed works in the repertoire. It opens with a darkly introspective introduction in Eb minor, before blossoming exuberantly into Gb major. An elaborate cadenza then leads into an energetic and tuneful Allegro. The mood of introspection returns before a triumphant close based on the material in the Allegro.
Saint-Saëns' Cavatine was composed for trombonist George W. Stewart as a result of their joint participation in the 1915 World Fair in San Francisco. Stewart’s assessment of it as being ‘unquestionably the most beautiful composition ever written for trombone’ may have been an exaggeration (or simply unmeasurable), but it is certainly true that the work exemplifies Saint-Saëns’ tremendous gift for melody, the expressive and long flowing lines highlighting the singing qualities of the instrument. It’s not the flashiest of solo works, but it nevertheless requires a good deal of control and technique to bring it off well.
Paul Hindemith - Trombone Sonata (1941)
One of the most important and challenging works in the trombone repertoire, Hindemith’s Trombone Sonata is very much a work of the twentieth century. Written in the US following his escape from Nazi Germany, the work makes use of classical forms but with astringently modern harmonies. The result is more sardonic than severe, the composer weaving his own peculiarly attractive melodies over a highly percussive (and equally challenging) piano part.
Joseph Jongen - Aria et polonaise, Op.128 (1944)
Composed towards the end of his life, Joseph Jongen’s ‘Aria et Polonaise," Op. 128 (1944) is a two movement work lasting around 8 minutes. It amply demonstrates the composer’s refined craftsmanship and mastery of form. The first moment, ‘Aria’, is, as its title suggests, lyrical and expressive, emphasising the singing qualities of the instrument. The sharply contrasting ‘Polonaise’ is a lively dance in the traditional Polish style, full of passages that demand agility, rapid articulation and a high level of technical proficiency from the performer.
