River Campus Earl and Margie Holland College of Arts and Media Southeast Missouri State University
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Concerto for Trombone and Orchestra was written in 1924 by Danish composer Launy Grøndahl during his time in Italy. It was inspired by the trombone section of the Orchestra of the Casino Theatre in Copenhagen (of which Grøndahl had been a violinist since the age of thirteen). This work was premiered in Copenhagen by the Orchestra of the Casino Theatre with soloist Vilhelm Aarkrogh, the principal trombonist of the orchestra.
The concerto has a duration of approximately 15 minutes and is cast in three movements:
Moderato assai ma molto maestoso
Quasi una Leggenda: Andante grave
Finale: Maestoso
Grøndahl is primarily known for one work – the Trombone Concerto heard on this program. Listeners might be surprised that this talented composer, practically unknown outside Scandinavia, also wrote concertos for bassoon and violin, as well as works for orchestra, art songs, chamber music, and piano pieces. Grøndahl’s musical style is melodic, but it does not eschew some modernistic techniques and angular harmonies. The fascinating combination of traditional and modern styles creates a musical tapestry that is always interesting.
This piece begins in the lowest reaches of the orchestra with a stormy chord, which is soon joined by a declamatory and dramatic statement by the solo trombone. Grøndahl dispenses with the traditional exposition of the main themes by the orchestra and plunges the listener into the fray without hesitation. The drama of the first theme soon gives way to the exotic lyricism of the second melody. Of particular interest here is the character of the solo part, virtuosic and impressive in its agility.
Grøndahl’s second movement, entitled “Quasi una Leggenda” (“In the manner of a tall tale”), is a mixed-meter andante that abounds in beauty. The two contrasting themes, both lovely, are interrupted by a large climax in the center of the movement that culminates with a high B-flat in the solo trombone. The gentle rippling of arpeggios and string chords end the movement quietly.
The maestoso introduction to the finale is based on music from the first movement, but soon gives way to a surprisingly light rondo. This playful music is peppered with staccato runs and a blitheness that is seldom heard from the trombone. Despite the light nature of this music, there is an overwhelming sense of authority that is echoed in the orchestra interludes. A fortissimo flourish concludes the concerto.
Elegy for Mippy II was written by Leonard Bernstein in 1948 is part of a suite of brass pieces, each dedicated to a dog that Bernstein knew. Mippy II is the only unaccompanied work of the suite; however, it is indicated that the trombonist should accompany himself by tapping one foot, mezzo-forte, four to the bar. The piece begins with a slow and easy triplet feel, transitions to swung sixteenth note passages that mimic double time, and returns to a partially repeated opening section.
Leonard Bernstein was an American musical phenom. He was an American conductor, composer, educator, and humanitarian. The influence of Jazz during the 1930s and 40s is obvious in his works, the most famous example of this being his Westside Story. The same is true for Elegy for Mippy II, where Bernstein uses elements from jazz like syncopation, triplet rhythms, and glissandi. Burtie Bernstein, Leonard’s brother, had a dog named Mippy. Upon this dog’s death, Leonard wrote Elegy for Mippy for French Horn. Apparently not a very creative man, Burtie soon replaced Mippy with another dog and named him Mippy II. When Mippy II had a disagreement with a truck (and lost) Leonard wrote Elegy for Mippy II for the trombone. In this tune, you can hear Mippy II waddling around, sleeping all day, and occasionally barking at strangers.
He studied music at Harvard University and later studied piano, conducting, and orchestration at the Curtis Institute of Music in Philadelphia. From 1958-1969, Bernstein was the Music Director of the New York Philharmonic and earned the title of Laureate Conductor. Some of Bernstein’s famous compositions include Candide (1956), Symphonic Dances from “West Side Story” (1960), and his first large-scale work, Symphony No. 1: “Jeremiah” (1943).
Ballade for Trombone and Piano was composed in the year 1944 by Eugène Bozza for the annual composition competition at the Paris Conservatoire. The piece was originally composed for conservatory students, displaying the technical skills as well as musicality of the soloist. There is no formal structure to Ballade; however, the many changes in tempo provide variety throughout. With no distinct musical theme unifying the music, it is up to the trombonist to navigate the many distinct characters featured throughout the work. Because of the programmatic nature of each section, it is enjoyable to perform. This piece truly shows off the artistry of the trombone and the versatility of the performer. The differing musical styles combine to create a true masterpiece.
Bozza was a brilliant student at the Paris Conservatoire, winning prizes for the violin, conducting and composing, as well as the Grand Prix de Rome. He predominantly composed chamber music for wind instruments, but his solo works are also held in high esteem, such as his Ballade for Trombone and Piano. Bozza’s compositional palette is a delightful combination of the Baroque, Impressionistic, Neoclassicist, and jazz styles. The concept of musical borrowing is seen in Bozza’s Ballade as the composer “nods” towards many famous and well-known orchestral excerpts for the trombone.
Eugène Bozza was a visionary. His influence at the Paris Conservatoire was monumental to its success and longevity. Bozza’s Ballade is a challenge to perform because of the individual idiosyncrasies that each excerpt demands.
Sonata in F minor was originally written for bassoon by Georg Philipp Telemann in 1728, but it has been performed numerous times on recorder and—even—trombone. In the standard trombone repertoire, the sonata serves to connect the modern trombonist to Baroque period performance techniques (many early works for the trombone weren’t written until the Romantic era).
The sonata has a duration of approximately 10 minutes and is cast in four movements:
Andante cantabile
Allegro
Andante
Vivace
Georg Philipp Telemann was a German Baroque composer and multi-instrumentalist. He is one of the most prolific composers in history, at least in terms of surviving works. Telemann was considered by his contemporaries to be one of the leading German composers of the time, and he was compared favorably both to his friend Johann Sebastian Bach, who made Telemann the godfather and namesake of his son Carl Philipp Emanuel, and to George Frideric Handel, whom Telemann also knew personally.
Almost completely self-taught in music, he became a composer against his family's wishes. After studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, where he became musical director of that city's five main churches. While Telemann's career prospered, his personal life was always troubled: his first wife died less than two years after their marriage, and his second wife had extramarital affairs and accumulated a large gambling debt before leaving him. As part of his duties, he wrote a considerable amount of music for educating organists under his direction. This includes 48 chorale preludes and 20 small fugues (modal fugues) to accompany his chorale harmonizations for 500 hymns. His music incorporates French, Italian, and German national styles, and he was at times even influenced by Polish popular music. He remained at the forefront of all new musical tendencies, and his music stands as an important link between the late Baroque and early Classical styles. The Telemann Museum in Hamburg is dedicated to him.