Symphony, Trombone, Trombone & Piano

SKU: CY.CC2890

David Fetter's brilliant new work Situation Update - Suite for Tenor Trombone and Piano is written in three contrasting movements totalling almost 11 minutes in length:
1. Swift
2. Longing
3. Exit Music
Swift is marked Intense and is very rhythmic and angular. Longing is a beautiful lyrical movement marked Cantabile and Exit Music is marked Lively mixing chromatic, lyrical and syncopated segments, ending in a giant climax.
Both the solo and accompaniment parts are written for advanced performers.
The work's premier was performed in 2015 by retired Principal Trombonist of the Boston Symphony, Ronald Barron and accompanied at the Piano by Pianist Larry Wallach.
Here is what Mr. Ewazen has said about Situation Update:
I had the pleasure of hearing Ron Barron play David Fetter's exciting and virtuosic new work for Trombone and Piano, Situation Update”. David's music allows the Trombonist to sing and soar in 3 contrasting movements filled with vivid colors, beautiful and expressive harmonies, and a wonderful flowing rhythmic energy. The outer movements crackle with
energy, showcasing the amazing technique of soloist Ron Barron, as the melodic line shifts and changes with playful abandon, while the middle movement is heartfelt and lyrical, with beautiful melodic lines, supported by resonant, gorgeous harmonies. The work is a real tour de force and
rightly deserves to take its place as a significant addition to the Trombone repertoire..

SKU: CY.CC3136

ISBN 9790530111055. 8.5 x 11 in inches.

This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University. While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad). The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital. I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting. I thought at the time that he had given me and my music a fine compliment. I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor. It alternates between assertive and more thoughtful moods. There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end. Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes. Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic. The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes. The main theme is heard in the piano part before the soloist enters. The mood is more lyric than in the first movement, but with dramatic episodes also. In this movement are some definite derivations from themes in the first movement. The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes. Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward. The introduction is a brief and simple preparation for the solo entry. Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo. Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers.

SKU: CY.CC2646

Sibelius wrote the five-minute Romance in 1903 for string orchestra, originally titling it Andante. However he was persuaded to change the name about five years later by a critic's review. In 1903, Sibelius was still composing in a Romantic style, not the austere sounds heard later-on after he composed the 4th Symphony. Romance is made up of three sections; a slow Andante, a faster middle section and a slow third section. Mr. Sauer has distilled the music down to a lovely solo for Trombone and Piano. This crowd-pleaser will work well for advanced performers.

SKU: CY.CC2827

Young Glazunov had the special opportunity to meet Franz Liszt in 1884 while on a tour of Europe arranged by his publisher. Liszt was very impressed with the young Glazunov and arranged to have his 1st Symphony performed in Weimar. Upon hearing of Liszt's death in 1886, Glazunov wrote this Elegie in his memory with the subtitile Une Pensee a Francois Liszt.
The music embodies emotions of nostalgia, sweet remembrance and grief. This 8-minute jewel, originally for Cello and Piano has been beautifully arranged for Trombone by Ralph Sauer. For advanced performers.

SKU: BT.EMBZ14997

The work was dedicated to Gusztáv H na whose extraordinary performing skills inspired the virtuosity of the trombone solo part. The world premiere was held on 27 January 2002, performed by Gusztáv H na and the Savaria Symphony Orchestra conducted by the composer.

SKU: HL.48182521

UPC: 888680840914. 9.0x12.0x0.054 inches.

Composed by Sigismond Stojowski, Fantasy, Op.38 is a piece for Bass Trombone and Piano. This lyrical piece, published in 1912, is very melodic and would require advanced skills and technique to perform it perfectly. This piece is one of the first he wrote after moving to the USA. Comparable to Chopin's 'Fantasy', even though Stojowski's seems better-written and more virtuous. A transcription exists for Viola and other instruments. Sigismond Stojowski is a Polish pianist, composer and conductor who studied at the Paris Conservatoire. He was a good friend of Tchaikovsky and worked as a Piano soloist in the USA with the Boston and the San Francisco Symphony, as well as the New York Philharmonic, among others.

SKU: CY.CC3088

ISBN 9790530110652. 8.5 x 11 in inches.

The writing of Romanza and Scherzo was inspired by Charles Vernon, the legendary Bass Trombonist of the Chicago Symphony, who asked Mr. Pierce to write something for me with lots of melodies. The work is in three sections: a brief introduction followed by the very expressive Romanza and the final Scherzo, which is light and bouncy. The music is full of LOTS OF MELODIES, has a very large range and features a challenging cadenza. About 10 minutes in length, this music is appropriate for advanced performers. This work is dedicated to George Curran, Bass Trombonist of the New York Philharmonic who performs it on his new CD, Vital Signs, available on iTunes, CD Baby and from other distributors. Below is a brief sample of this beautiful work performed by Mr. Curran.