the recitative in trombone music william j. stanley ©2019
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The Recitative in Trombone Music William J. Stanley ©2019 At first glance, the linking of recitative with a trombone might seem contradictory. After all, the recitative is found most often in opera and oratorio as a speech like style of musical expression performed by singers. But over the past several years, as I was preparing music for performance and assisting students with their preparation, recurring examples of recitative in trombone music appeared more than occasionally. Trombonists will readily recognize concertos by Ferdinand David (1837), Launy Grøndahl (1924) and Gordon Jacob (1956) as often performed pieces that include a recitative. Nicolai Rimsky-Korsakov has provided two well-known solo recitatives for the orchestral second trombonist in Scheherazade, op. 35, and La Grande Pâque Russe, op. 36. These works and several others prompted, at first, an informal list to simply satisfy my curiosity. A subsequent more thorough search has found a large number of works that contain a recitative. To date well over 100 pieces have been discovered. These span over 250 years and include unaccompanied solos, orchestral solos, pieces with piano, organ, orchestra and/or band accompaniment, and in various ensemble settings for tenor, bass and alto trombones. While that number and breadth of works might be surprising to some, the fact that composers have continued to use vocally influenced materials in trombone music should be of no surprise to trombonists. We know there is the long tradition of the use of the trombone in vocal settings throughout its history. A thorough examination of this practice goes well beyond the scope and intent of this study, but it is widely known that the trombone was commonly used throughout the sixteenth- and seventeenth-centuries as an accompanying and doubling instrument in sacred settings with choirs.
. . . documentary and iconographical evidence removes any doubt that from about the 1570s it was common across Europe for trombones, cornetts and other instruments to perform within the liturgy.1
Marin Mersenne (1635) writes: “Musicians have invented many instruments to mingle with voices . . . That is why the bassoon is used and the sackbut [trombone] . . .” 2 Casual examination of the use of the trombone in large-scale sacred choral or operatic compositions of Bach, Mozart, Haydn and others shows a clear tradition of the presence of trombones in close association with, especially, the choral lines in these works. Berlioz believed that the trombone could “chant like a choir of priests.” 3 Other evidence of this vocal thread in
1 Trevor Herbert, The Trombone (New Haven, CT: Yale University Press, 2006), 103. 2 Marin Mersenne, Harmonie Universelle: The Book on Instruments, Translated by Roger E. Chapman, (The Hague: M. Nijhoff, 1957), 348. 3 Hector Berlioz, A Treatise on Modern Instrumentation and Orchestration, Translated by Mary Cowden Clarke, (London: Novello, Ewer & Co., 1882), 156.
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trombone music in the eighteenth century and beyond can be found in the work of Isaacson,4 Wells,5 Manson,6 Carter,7 and others. All this is not to deny the purely instrumental functions required of trombonists throughout its history as well. Dance and ceremonial music, orchestral, chamber and solo settings are abundant. And in fact, the recitatives found in the majority of these works are parts of larger instrumental forms. This study will demonstrate that given the profuse use of recitative, a vocally influenced tradition in trombone music should be considered an enduring practice that has paralleled and enhanced a more commonly perceived purely instrumental role of the trombone, and that has never been abandoned by composers to this day. The Recitative For purposes of this study a recitative is described as follows:
In its current, modern usage, “recitative” commonly refers to a relatively small range of styles in vocal music (and their imitation in instrumental music) whose principal, defining characteristics are normally thought to include some or all of the following: exclusively or predominantly syllabic text setting, relatively narrow range within breath phrases, more pitch repetition than is normal in songlike vocal styles, avoidance of motivic or thematic recurrence and other forms of purely musical patterning, including rhythmic features that suggest a steady meter, and, above all, the employment of syllabic pacing, rhythmic durations, inflections, contours, and accentuation that mimic, to some extent, the features of speech . . . 8
Additionally, accompaniments in recitatives often include supportive sustained harmonies or rhythmic interjections in dialogue with the soloist without emphasis on meter. These patterns often are found in stark contrast to material preceding and following the recitative. The Instrumental Recitative In the above description of the recitative, there is a parenthetical reference to the imitation of vocal recitative in instrumental music. The instrumental recitative is nothing new.
4 Charles Frank Isaacson, “A Study of Selected Music for Trombone and Voice” (DMA document, University of Illinois, 1981). 5 Wayne W. Wells, “Music for Trombone and Voice from the Hapsburg Empire: An Historical Overview with Tenor Trombone Transcriptions” (DMA document, University of Maryland, College Park, 2005.) 6 David R. Manson, “Trombone Obbligatos with Voice in the Austrian Sacred Music of the Seventeenth and Eighteenth Centuries: Representative Excerpts with Historical Introduction and Commentary” (DMA document, University of Cincinnati, 1997). 7 Stewart Carter, “Trombone Obbligatos in Viennese Oratorios of the Baroque” Historic Brass Society Journal 2 (1990): 52-77. 8 John Walker Hill, “Recitative” in Oxford Bibliographies (Oxford University Press, 2019), accessed June 10, 2019, DOI: 10.1093/obo/9780199757824-0134.
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Recitative-like passages have often been used in instrumental music for special expressive or dramatic effect. . . . Examples include the first of C.P.E. Bach’s ‘Prussian’ Sonatas (1742), Haydn’s Symphony no. 7 (‘Le midi’, 1761) and Sinfonia concertante HI:105 (1792), Mozart’s Violin Concerto no. 3 K216 (1775) and Beethoven’s piano sonatas op.31 no.2 (1802) and op.110 (1821–2).9
Recitatives in instrumental works have been the source of a considerable amount of study. A full-scale monograph by Mies,10 articles and dissertations by Charlton,11 and Lavore,12 among others, have all codified the instrumental recitative as a viable, not uncommon mode of musical expression used in a wide variety of musical settings by composers from the late Baroque through to current day. The Trombone Recitative Most recitatives found in trombone music follow many of the speech-like patterns in more common vocal applications. These include avoidance of clear meter, syllabic rhythmic gestures, and sparse, often interjective accompanimental patterns, and others. Appropriate recitative performance practice by trombonists can be learned easily by study of vocal recitatives found in opera and oratorio. Additional attention to inherent speech-like stresses and other vocal inflections discovered in the trombone music, as well as thoughtful interaction with collaborative partners, will all add to the potential for individual expression and an appropriate performance. A complete list of the works discovered so far that contain a recitative is appended. All are original works for trombone(s), no transcriptions. Each includes the specific term “recitative” or some derivation - quasi recitative, recitativo, recitatif, etc. - either in the musical notation or in the title. Works employing other terms to indicate a certain freedom in performance – cadenza, con rubato, molto espressivo, ad. lib., etc. – without an explicit reference to recitative are generally outside the limitations of this study. A few of the composer designated recitatives, especially in earlier works, contain wide-ranging scalar and arpeggiated technical passagework similar to what is found typically in cadenzas. These works are included due to the descriptive term chosen by the composer. A few works have been discovered with passages that show many characteristics of recitative without a notated directive from the composer. I believe these pieces, and potentially many more, can and should be performed with the expressive, declamatory freedom of a recitative. Two of these have been chosen as examples below. Those examples and a selected list of others are included as implied in the appended complete list of works.
9 Jack Westrup, “Recitative,” in Grove Music Online (Oxford University Press, 2001-), accessed June 11, 2019, https://www.oxfordmusiconline.com.colorado.idm.oclc.org/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000023019?rskey=8Tn5q1&result=1 10 Paul Mies, Das Instrumental Rezitativ, (Bonn: Bouvier, 1968). 11 Davis Charlton, “Instrumental recitative: A study in morphology and context, 1700-1808,” Comparative Criticism 4 (1982): 149-168. 12 Roman U. Lavore, “Instrumental recitative in classic, romantic, and twentieth-century music,” (PhD diss., The Florida State University, 1973).
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Selected Works for Trombone with Recitative The earliest discovered example of recitative in trombone music is in a work by Johann Michael Haydn (1737-1806) - Serenade in D, Perger 87 (1767). Like many serenades from this period, this multi-movement piece calls for multiple soloists – flute, horn, trombone, violin, cello – and strings. Trombonists might be familiar with movements five and six, Adagio and Allegro molto, scored for horn/trombone duo that has been published separately.13 The ninth movement, Recitativo (Allegro), includes all of the concerted instruments in dialogue.
Example 1. Haydn, Serenade in D, mvt. 9 Recitativo, mm. 29-46
13 Johann Michael Haydn, Adagio and Allegro molto, Kurt Janetzky, ed. (Paris: Billadout, 1976).
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Concertino, op. 5 is an early solo work for bass trombone14 and orchestra composed by Christian Gottlieb Müller (1800-1863) and dedicated to trombone virtuoso Carl Traugott Queisser.15 Müller studied composition with Louis Spohr and Car Maria von Weber and achieved some distinction as a conductor in Leipzig.16 “The premiere of the Concertino op. 5 can be dated to 1828. The soloist was Queisser himself, the composer conducting.”17 The recitative occurs toward the beginning of the piece and acts as a declamatory introduction to the full three movement concerto.
Example 2. Müller, Concertino, op. 5, mvt.1, mm. 7-11 and 17-35.
14 At this point in the development of the trombone, the bass trombone in Germany was a large-bore instrument pitched in B-flat, very similar in size to the modern large-bore tenor trombone - the current instrument of choice for performances of this work and other bass trombone pieces from this time. 15 See Mary Rasmussen, “Two Early Nineteenth-Century Trombone Virtuosi: Carl Traugott Quiesser and Friedrich Belcke." Brass Quarterly 5 (1961-1962): 3-17. 16 Christian Gottlieb Müller, Concertino Es-dur für Bassposaune, ed. Nick Pfefferkorn (Wiesbaden: Breitkopf & Härtel, 2017), 2. 17 Ibid., 3.
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Grande symphonie funèbre et triompahle, op.15, (1840) is a large-scale orchestral work composed by Hector Berlioz (1803-1869) in celebration of the tenth anniversary of the French Revolution. The second of three movements, Orasion funèbre, features a solo trombone throughout. The opening section, clearly in recitative style, leads into more aria-like melodic expressions by the trombone soloist. A version of this movement has been arranged and published as Recitative and Prayer for trombone and piano18 and is included in Henry Charles Smith’s compilation – Solos for the Trombone Player.19
Example 3. Berlioz, Grande symphonie funèbre et triomphale, mvt. 2 Orasion funèbre, mm 9-32.
Friederich August Belcke (1795-1874) was another early Romantic solo trombone virtuoso as well as a member of the Leipzig Gewandhaus Orchestra and the court orchestra in Berlin.20 As a
18 Hector Berlioz, Recitative and Prayer, Roger Smith, ed. (New York: Mercury Music, 1958). 19 Henry Charles Smith, ed., Solos for the Trombone Player (New York: G. Schirmer, 1963). 20 Rasmussen, Brass Quarterly, 3-5.
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composer, “lacking an existing solo repertoire, Belcke wrote many solo compositions for his instrument including the Fantasia, op.58 for trombone and organ.”21 Several notations for recitatives are found throughout this piece alternating dramatic, exclamatory arpeggiated and scalar passages with lyrical expression.
Example 4. Belcke, Fantasia, op.58, mm 1-10 and 60-69.
21 Donald Lynn Pinson, Jr., “History and Current State of Performance of the Literature for Solo Trombone and Organ” (DMA dissertation, University of North Texas, 2008), 7.
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Little is known about the life of Hedwige Chrétien (1859-1944). She studied composition at the Paris Conservatory with Ernest Guiraud where she later taught.22 Her piece for trombone and piano, Andante et Allegro, was used for the annual concours in 1886 and again in 1891.23 The opening recitative serves as a stately, declamatory introduction to a two-part form that would become the convention for many of these contest solos. Especially notable is the use of several descending wide intervals – a quasi-sighing motive.
Example 5. Chrétien, Andante et Allegro, mm. 6-17.
22 Judy Tsao, “Chrétien, Hedwige” in Grove Music Online (Oxford University Press, 2001-), accessed June 17, 2019, https://doi-org.colorado.idm.oclc.org/10.1093/gmo/9781561592630.article.45498. 23 Jeffrey Lemke, “French Tenor Trombone Literature and Pedagogy Since 1836” (DMA dissertation, University of Arizona, 1983), 55.
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Joseph Serafin Alschausky (1879-1948) was “the most celebrated European trombone virtuoso of the first half of the twentieth century, probably the first to have a full-time career as soloist, and a prolific composer for his instrument.”24 His compositional output included numerous published pieces, including 2 trombone concerti, a solo piece - Grosse Rezitativ und Andante (with orchestral and piano accompaniments),25 waltzes for solo trombone, and more. Several of his trombone works call for recitative. Walzer - Arie No. 2 “Mein Ideal” composed with both orchestra and piano accompaniments, was published between 1898-1903. It includes an introductory, nineteen measure dramatic recitative with typically punctuated accompaniment. Example 6. Alschausky, Walzer-Arie No. 2 “Mein Ideal,” mm 3-10.
24 Keith Davies Jones, “Alschausky, Joseph Serafin: (1879-1948)” in ITA Journal, 40, no.3 (July, 2012), 17. 25 See Arno Hansen, ed., Solobuch fur Posaune, vol. 4 (Hamburg: Anton J. Benjamin, n.d.), p. 4 for the solo part.
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Eugène Bigot’s (1888-1965) Impromptu (1927) for trombone and piano is an early twentieth-century work composed for the Paris Conservatory concours. It was used in 1931, 1943, 1974, and 1982 for that examination.26 The opening short recitatives demonstrate a striking harmonic shift from the examples examined thus far. The short, sixteen measure introduction begins with fast moving chromatic piano expressions that are quickly dissipated by the slower moving vocal calls of the trombone, all transitioning to settle on more traditional vertical sonorities.
Example 7. Bigot, Impromptu, mm. 1-16.
26 Lemke, “French Tenor Trombone Literature and Pedagogy Since 1836,” 58.
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Robert L. Sanders (1906-1974) studied composition with Ottorino Respighi at the American Academy of Rome, 1925-29. He was a faculty member at the Chicago Conservatory and served as Dean of the School of Music at Indiana University beginning in 1938, where he also taught composition and counterpoint. His Sonata in E-flat for trombone and piano was composed in 1945 as part of a National Association of Schools of Music commissioning project.27 The third of four movements, Chorale, is a theme and variation structure where one of the variations on the simple chorale calls for recitative. This is an example, one of many, where recitative is found in the body of the work, rather than near the beginning as introductory material. Example 8. Sanders, Sonata in E-flat, mvt. III. Chorale, mm. 25-41.
27 E. Ruth Anderson, ed. Contemporary American Composers: A Biographical Dictionary, 2nd Ed. (Boston: G. K. Hall & Co., 1982), 449.
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12
American pianist, composer and conductor, Robert A. Spillman (b. 1936), studied at the Eastman School of Music and had a wide-ranging performance career as a collaborative pianist with noted vocalists in Europe and the United States. He taught at the Eastman School of Music, the Aspen Music Festival and at the University of Colorado Boulder where he chaired the piano faculty and was Music Director of the opera program.28 His Concerto for bass trombone (1959), an often performed work with piano, was composed for Edwin Anderson. Example 9 shows a recitative that encompasses most of the short second movement, using non-functional major tonalities in the accompaniment with quartal sonorities for the trombone. The same material returns as introduction to movement four, and is then further developed throughout the movement. A second similarly expressive recitative (not shown) serves as introductory material for the final, heroic theme of the concerto. Example 9. Spillman, Concerto, mvt. II Andante, mm. 9-33
28“Spillman Music,” accessed August 23, 2019, https://www.spillmanmusic.com/about/
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American composer Barney Childs (1926-2000) earned graduate degrees in English literature from Oxford University as well as the PhD in English and music from Stanford University. Largely a self-taught composer, he studied briefly with Carlos Chavez, Aaron Copland and Elliott Carter.29 “Childs’s music explores a range of innovative techniques including indeterminacy, improvisation and what he called ‘self-generating structures’, . . .Many of his pieces from the early 1960s . . . are indeterminate.”30 In his three movement Sonata for Solo Trombone (1961), movement I, “Recitative,” uses nonconventional notation in a manner that allows considerable performer participation in both expressive and speech like narrative delivery. Example 10. Childs, Sonata for Solo Trombone, mvt. I, Recitative, un-measured excerpts.
29 “Barney Childs,” American Composers Alliance, accessed September 20, 2019, https://composers.com/barney-childs. 30 Richard Swift, Paul Attinello, rev., “Childs, Barney (Sanford)” in Grove Music Online (Oxford University Press, 2001-), accessed September 20, 2019.
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Donna N. Robertson (b. 1935) is graduate of Indiana University of Pennsylvania and the Eastman School of Music and is an Associate of the American Guild of Organists. She is professor emerita at Mars Hill College where she served as college organist and taught theory, composition, and other related courses.31 Her Recitation With 5 Reflections for trombone and piano was composed in 1972 for then professor of trombone at Mars Hill College, Richard L. Cryder. Her use of nonrecurring meters, the blurring of beats and meter with syncopations and ties, the occasional repeated pitches, sweeping dynamic contrasts, etc., all function to create the potential for a free-sounding, spontaneous oration.
Example 11. Robertson, Recitation With 5 Reflections, mvt. I Recitation
31 “Donna N. Robertson,” The Lorenz Corporation, accessed August 22, 2019, https://www.lorenz.com/keyboard/browse-by-composer?itemId=Composer:13347.
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French pianist and composer Francine Tremblot de la Croix (Aubin) (1938-2016) won the first prize in composition at the Paris National Conservatory in 1958. She was also the first female director of a music conservatory in France at the Conservatoire de Tourcoing and the Conservatoire National de Region de Rueil-Malmaison.32 Her Le Tombeau de Goya for trombone and piano was the concours piece in 1982.33 A single movement work with several sections, the recitative dramatically contrasts with the preceding active section by way of a stagnate, soft cluster in the piano right-hand with step-wise trombone expressions. A true instrumental cadenza follows and leads into the final Maestoso concluding section. Example 12. Tremblot de la Croix, Le Tombeau de Goya, mm 54-61
32 “Francine Aubin,” Composers Classical Music .com, accessed September 24, 2019, http://composers-classical-music.com/a/AubinFrancine.htm. 33 Nicole Christine Muffitt, “From Contest to Classic: A Review of Trombone Literature from the Paris Conservatory,” (BA Thesis, Kent State University, 2016), 52.
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16
Mark Phillips (b. 1952) is a Distinguished Professor Emeritus of Music at Ohio University. He has a distinguished career as a composer with awards including the 1988 Barlow International Competition for Orchestral Music. T. Rex for trombone and electronics was commissioned in 1996 with funds from the Ohio University Research Committee with additional support from the Ohio Arts Council.34 All of the accompanimental electronic sounds are derived and generated from recorded, analog trombone sounds. The recitative appears at the beginning of the four movement piece after a short electronic introduction. With an emphasis on the half-step, its unmeasured notation, along with feathered beaming to indicate accelerating and slowing the motion, stemless fermatas, and repeated notes, all create the opportunity for performer involvement and expressive potential. Example 13. Phillips, T. Rex, Introduction
34 Mark Phillips, T. Rex for Trombone and Tape, (Seckington, England: Warwick Music Publishing, 1996).
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Andrew J. Skaggs is a trombonist currently performing as a member of the United States Navy Band in Washington DC. He was previously a member of the Charlotte Symphony and the South Carolina Philharmonic. Varietals for trombone and piano was composed in 2008 and dedicated to Natalie Mannix, a “serious oenophile.”35 The unmeasured recitative serves as an introduction to the piece. It shows several shorter phrases with a recurring triplet figure of repeated notes, as well as a recurring ascending/descending three-note motive. Fermatas and notes of longer duration allow for cadencing and moments of repose and/or reflection. Example 14. Skaggs, Varietals, mvt 1. Opening - Barolo, introduction
35 Andrew J. Skaggs, Varietals, (Springfield, VA: Sterling Music Editions, 2012).
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18
Anthony Gilbert (b. 1934) is a British composer who studied with, among others, “Berio at the Dartington Summer School (1961,1962) and from Schuller, Shifrin, Carter, and Sessions at the Berkshire Music Center in Tanglewood (summer, 1967). . . . A modernist by nature, Gilbert nevertheless writes music in Classical forms and is not averse to representational music; on the purely structural side, he adopts various attenuated forms of serial music, and in thematic development uses disparate agglutinative blocks.”36 His Recitative (2010) for unaccompanied trombone is an example of a complete work composed in recitative style. Several sections show contrasting tempos and styles including varying articulations, dynamics and complexity of rhythms. Meter is often obscured by the use of longer note durations, ties, and syncopations. Several mutes with specific performance instructions are required. Of special interest is his use of quarter-tones and a directive to “play natural 7th harmonics unadjusted wherever marked.”37 Example 15. Gilbert, Recitative, mm. 35-47.
36 "Gilbert, Anthony (John)." Baker’s Biographical Dictionary of Musicians. Encyclopedia.com. accessed July 18, 2019, https://www.encyclopedia.com/arts/dictionaries-thesauruses-pictures-and-press-releases/gilbert-anthony-john 37 Anthony Gilbert, Recitative, (York, England: University of York Music Press, 2015).
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19
Implied Recitatives Eric Ewazen (b. 1954) studied composition with Samuel Adler, Milton Babbit, Warren Benson, Gunther Schuller and Joseph Schwanter at the Eastman School of Music. Currently on the faculty at the Juilliard School, he composed the Sonata for Trombone and Piano in 1993. It was commissioned by and dedicated to Michael Powell, tenor trombonist with the American Brass Quintet and also a faculty member at Juilliard.38 Ewazen states: “The trombone, with its golden resonant tone and beautiful baritone [voice] range is an instrument which has always appealed to me.”39 The third movement, in clear Rondo form, breaks from its expected highly charged rhythmic activity into a slow moving recitative-like passage showing sustained sonorities in the piano supporting short, lyric, vocally inspired trombone scoring. Example 16. Ewazen, Sonata for Trombone and Piano, mvt. III, Allegro giocoso, mm 189-204.
38 Erci Ewazen, Sonata for Trombone and Piano, (San Antonio, TX: Southern Music, 1998). 39 Ibid.
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Trumpeter and composer Malcolm Arnold (1921-2006), studied composition with Gordon Jacob at the Royal College of Music, and held the position as principal trumpet with the London Philharmonic Orchestra.40 His Quintet op. 73 was composed in 1961 for the New York Brass Quintet41 and is still one of the most performed works in this genre. In the second movement, Chaconne, a slow sustained seven-measure progression is developed with varying combinations of instruments and counterpoint. After the sixth statement, a clear textural break is created with a solo trombone accompanied by slow moving, parallel vertical sonorities in the horn and tuba. While the trombone material at first may appear to be more like a cadenza, a clear sense of vocal discourse can be presented with judicious use of tempo liberty, inflection and narrative expression. Example 17. Arnold, Quintet op. 73, mvt. II Chaconne, mm 43-56
40 “Malcolm Arnold,” Faber Music, https://www.fabermusic.com/composers/malcolm-arnold/biography, accessed September 30, 2019. 41 Malcolm Arnold, Just Brass, Philip Jones Brass Ensemble, Argo (Decca) ZRG 655, 1970, LP, notes.
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21
Another genre where vocally-influenced expression is called for in trombone performance has been the source of significant recent study – the trombone shout band. Trombone shout bands are a staple in the services for The United House of Prayer for All People in the southeast United States. In every house an instrumental ensemble included a bass horn and a rhythm section; the rest of the ensemble was composed mostly of trombones. Occasionally a saxophone, trumpet or a couple of baritones were included in the ensemble, but even then the trombones dominated soloistically and harmonically. This instrumental ensemble is referred to by members of the House of Prayer as the shout band.42 A piece, or shout, is performed typically in three main sections that can be described as recitative, aria, and shout (call and response). In the recitative section, “the soloist plays a slow, relaxed improvisation either on the song to follow, or plays an unrelated, spontaneous improvisation in the same key as the song.”43 The term recitative, is not a term used by the band members themselves, but one I
selected for my research. When writing my document, I chose the term recitative so that those familiar with art music might be able to compare and contrast the shout form with the recitative-aria harmonic and rhythmic progressions in Baroque cantatas.44
In addition to typical harmonic and rhythmic progressions, these introductory solo breaks reveal the personal dramatic character of the performer with many other features of classical recitative including sustained, slow-moving harmonies, inflections, and contours that imitate vocal expression.
42 Sherri Damon, “The Trombone in the Shout Band of the United House of Prayer for All People,” (DMA dissertation, University of North Carolina – Greensboro, 1999), 3-4. 43 Ibid., 70. 44 Personal correspondence with Sherri Marcia Damon, September 30, 2019.
22
Example 18. I Will Trust in the Lord, arranged by Sherri Damon, used by permission.
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23
Conclusions To summarize, the above eighteen examples of original works for trombone with recitatives clearly establish the breadth and diversity of continued vocally influenced compositional choices by composers. Presented here chronologically in roughly 10-20 year periods, these works span close to 250 years. Considering all the works found, geographically the largest number of works come from Germany, France and the United States. Composers from England, Australia, Argentina, Denmark, Czech Republic, Poland, and Russia also are represented. Gender diversity is evident with seven pieces by six female composers. Recitative durations span a single measure through complete pieces. A wide variety of compositional idioms, consistent with the practices found throughout this time-span, includes the completely tonal expressions of the early classical, through nineteenth-century tonality and chromaticism, into the twentieth-century use of quartal harmonies, dissonance, serialism, special notation systems and extended techniques for the trombonist. Instrumentation is also quite varied as shown in Table 1. Table 1, Distribution of works by instrumentation
trombone and piano 35 trombone and orchestra 18 trombone part only 12 solo trombone 9 orchestra solo/section soli 4 trombone and organ 3 trombone and band/brass band 3 trombone in brass ensemble 3 trombone and string quartet 2 trombone etudes 2 trombone and electronics 1 trombone and percussion 1 trombone in mixed ensemble 1 bass trombone and piano 8 solo bass trombone 4 bass trombone and orchestra 1 alto trombone and orchestra 2 multiple trombones 6
24
I cannot claim to have found all of the works for trombone that contain a recitative. I cannot even claim to know well all of the works found so far. My intent here is simply to reveal the continuity of vocally influenced compositional tradition in trombone music. I believe that with continued discovery of historically important works, the growth of self-publishing, and continued composer awareness of this vocal tradition of the trombone, the catalogue of vocally influenced works will continue to expand and enrich our repertory. With that in mind, I intend to continue updating the list as I find new works, and hope that anyone discovering a relevant piece will feel free to contact me with that information.
25
Appendix – Works for Trombone with Recitative
Composer Title Instrumentation Alschausky, Joseph Serafin (1879-1948) Grosse Recitativ und Andante trb* Alschausky, Joseph Serafin Konzert No. 1 (c1911) trb/orch (piano) Alschausky, Joseph Serafin Konzert No. 2 in B-dur trb Alschausky, Joseph Serafin Mehpisto - Grosse dramatische Szene trb Alschausky, Joseph Serafin Recitation and Hymns trb/piano Alschausky, Joseph Serafin Walzer - Arie No. 2 (c1898) trb/orch (piano) Barfield, Anthony J. Meditations of Sound and Light (2007) trb/piano Bartmuss, Richard (1859-1910) Recitative und Arioso, op. 24 trb/organ Bass, Randol Alan (b. 1953) T Three Vignettes (c2010) trb/piano Beckel, James A., II (b. 1948) Concerto for Trombone (2013) trb/band (piano) Beer, Jeff (b. 1952) Challenge (1974) solo trb Belcke, Friedrich August (1795-1874) Concertino trb Belcke, Friedrich August Fantasia. Op. 58 trb/organ Belcke, Friedrich August Sieben Etüden, op. 62 (No. 2) trb/piano Berlioz, Hector (1803-1869) Grande symphonie funèbre et triomphale, orch solo op. 15 (1840) Berlioz, Hector Roméo et Juliet op. 17 (1839) orch section Bernaud, Alain (b. 1932) Exponentíelles (1980) trb/piano Berthold, Th. Fantasie trb Bessonnet, Georges (b. 1953) Récitatif et Petite allegro (p1982) trb/piano Bigot, Eugène (1888-1965) Impromptu (c1927) trb/piano Blass, Noa (1937-2008) Recitative (1991) solo trb Bottje, Will Gay (1925-2018) Recitative, Arioso and Finale (1958) trb/piano Boutry, Roger (1932-2019) Cinq pieces a quatre (p1961) 4 trbs Brandon, Sy (b. 1945) Tapestries (p1994) 5 trbs Brehm, Alvin (1925-2014) Trio for Brass horn, tpt, trb Brown, Charles (1898-1988) Récitatif, Lied et Final (p1961) bass trb/piano Büttner, Max (1879-1948) Improvisation, op. 6 (p1928) trb/piano Chandler, Erwin (b. 1945) Recitative and Allegro (1978) trb/piano Childs, Barney (1926-2000) Sonata for Solo Trombone (1961) solo trb Chrétien, Hedwige (1859-1944) Andante et Allegro (c1886) trb/piano Cimera, Jaroslav (1885-1972) Recitative and Caprice (p1949) trb/piano Coker, Wilson (1928-1981?) Recitative and Canzona solo trb Crespo, Enrique (b. 1941) Concerto in F (2015) trb/orch Crocé-Spinelli, Bernard-Louis (1871-1932) Solo de Concours trb/piano Croley, Randell (b. 1946) Divertissement (1965) bass trb/piano David, Ferdinand (1810-1873) Concertino (1837) trb/orch (piano) David, Norman Recitation/Explortion (2010) trb/piano Demerssemen, Jules (1833-1866) Introduction et Polonaise, op. 30 trb/piano Depetris, Claude Recitatif et allegro trb/piano Duncan, John Divertimento (1951) trb/str quartet
26
Eisfeld, Theodore (1816-1882) Rezitativ und Cantabile trb Fleischmann, Otto (1867-1924) Concertino, op. 35 trb/orch (piano) Frackenpohl, Arthur (1924-2019) Suite (p1983) solo bass trb Freidlin, Jan (b. 1944) Little Theater Buffo, A (2012) trb/piano Frith, John (b. 1947) Behind the Mask (2006) bass trb/piano Frith, John Sonata (2008) bass trb/piano Gay, Harry Sonata solo bass trb Gilbert, Anthony (b. 1934) Recitative (2010) solo trb Grafe, Friedebald (1840-1880) Grand Concerto (c1895) trb/orch (piano) Grondahl, Launy (1886-1960) Concerto (1924) trb/orch (piano) Gross, Eric (1926-2011) Three Pieces, op. 236 (p1999) alto trb/orch (piano) Grosse-Schware, Hermann (1931-2019) Recitative (1996) solo trb Grube, Fritz Concertino (p1958) trb/orch (piano) Grützmacher, Fr. (1832-1903) Fantasie trb Günther, Alfred (1885-?) Konzert No. 1 in Es Dur trb Haydn, J. Michael (1737-1806) Serenade in D, Perger 87 (1767) trb/orch Heath, Reginald Recitative And Romance (c1970) trb/brass band Higgins, Timothy FLUX (2014) solo bass trb Hoskins, William Barnes (1917-1997) Recitative and Aria (1941) trb/piano Jackson, Francis (b. 1917) Recitative and Allegro, op. 76 (1989) trb/organ Jacob, Gordon (1895-1984) Concerto (1956) trb/piano Jemlich, Robert Concertino, op. 3 trb/orch (piano) Joubert, Claude Henry Rudéral (c1980) bass trb/piano Krejčí, Miraslov Sonatina (1948) trb/piano Kühne, J.C. Concertino (c1840) trb/orch (piano) Lauga, Emile Concerto in F minor (p196-?) trb/orch (piano) Lemaire, Jean (b. 1927)? Récit pour un débutante trb/piano Lovec, Vladimir (1922-1992) Recitative and Aria (1970) trb/piano Massis, Amable (1893-1980) Suite pour quatre trombones (p1964) 4 trbs Matej, Jozka (1922-1992) Informatorium (p1968) trb/piano McCarty, Patrick (1928-2015) Recitative and Fugue (p1960) 4 trbs McCulloh, Byron Sonata/Concerto trb/piano or orch Michel, Jean-François (b. 1957) Hommage á Jean Tinguely (p1994) solo trb Müller, Christian Gottlieb (1800-1863) Concertino, op. 5 (1828) trb/orch (piano) Novakovski, Josef (1800-1865) Concerto (c1840) trb/orch (piano) Novakovski, Josef (1800-1865) Theme, Variationen, Adagio und Rondo trb Parlow, Albert (1824-1888) Fantasie über ein Tiroler Volkslied trb Paudert, Ernst (1864-1912) Arie (p1939) trb/orch (piano) Pfeiffer, George-Jean (1835-1908) Solo de Trombone (c1899) trb/piano Phillips, Mark (b. 1952) T. Rex (1996) trb/electronics Planel, Robert (1908 - 1994) Air et final (c1968) bass trb/piano Reiche, Eugen (1878-1946) Concerto No. 2 (1905) trb/orch (piano) Reinhardt, Bruno (b. 1929) Music for Trombone Solo (p1965) solo trb Rimsky-Korsakov , Nicolai (1844-1908) Russian Easter Festival Overture, op.36 orch solo (1888) Rimsky-Korsakov, Nicolai Scheherezade, op. 35 (1888) orch solo
27
Robertson, Donna (b. 1935) Recitation with Five Reflections (1972) trb/piano Rozankovic, Anthony (b. 1962) Figabone - Paraphrases sur des themes trb/orch (piano) de Mozart (1989) Rueff, Jeanine (1922-1999) Rhapsodie (c1962) trb/piano Sanders, Robert L(evine) (1906-1974) Sonata (p1948) trb/piano Scarmolin, A. Louis (1890-1969) Recitative and Romance (p1955) trb/piano Schampaert, Jozef (Jef) (1899-1985) Fantaisie Dramatique (p1952) trb/piano Schmid, Franz (1874-1939)? Konzert in f moll trb Schuller, Gunther (1925-2015) Eine Kleine Posaunenmusik (1980) trb/band (piano) Semler-Collery, Jules (1902-1988) Saxhornia (p1959) bass trb/piano Serly, Tibor (1901-1978) Concerto (1951) trb/orch (piano) Serly, Tibor Five Pieces (revised 1959) trb/piano Sivic, Pavel Sonatina (1970) trb/piano Skaggs, Andrew Varietals (2008) trb/piano Spears, Jared (b. 1936) Recitative (1968) trb/piano Spelder, George Two Short Pieces solo bass trb Spillman, Robert (b. 1936) Concerto (1959) bass trb/orch (piano) Spillman, Robert Inventions (1976/2017) 2 trbs Spisak, Michel (1914-1965) Concertino (c1951) trb/orch (piano) Staley, Jim Recitative (p1992) trb, gtr, hrp, drums Stekke, Leon (1904-1970) Variations (1942) trb/piano Stephens, John (b. 1951) Creations (1982) trb/str quartet Tomasi, Henri (1901-1971) Fanfares liturgiques (1947) brass ens Toulon, Jacques Récitation (p1984) trb/piano Tournier, Franz (b. 1923) Récit et rondo (c1969) bass trb/piano Tremblot de la Croix, Francine Le Tombeau de Goya (c1982) trb/piano (1938-2016) Tyrell, H. W. 40 Progressive Studies - #31 (p1927) etude Van Appledorn, Mary Jean (1927-2014) Passages (1996) trb/piano Van Appledorn, Mary Jean Passages II (1997) trb/percussion Warnecke, Max (1878-1940) Concertstück, op. 28 (p1900) trb/orch (piano) White, Donald (1921-2016) Serenade no. 3 brass quartet Wills, Simon (b. 1957) Street Song Variations (2002) trb ens Implied Arnold, Malcolm (1921-2006) Quintet (1961) brass quintet Ewazen, Eric (b. 1954) Sonata (1993) trb/piano Freidlin, Jan (b. 1944) Romantic Concerto (2004) trb/orch Hailstork, Adolphus (b. 1941) John Henry's Big (Man vs. Machine) (2012) trb/piano Kallman, Daniel Three Admirations (c2003) bass trb/piano Konowalski, Benedykt (b. 1928) Ecumenical Triptych (1996) solo trb Larsson, Lars-Erik (1908-1966) Concertino, op, 45, no. 7 (c1955) trb/piano Monaco, Richard (1930-1987) Sonata (1958) trb/piano Peaslee, Richard (1930-2016) Arrows of Time (1996) trb/piano
28
Plog, Anthony (b. 1947) Four Themes on Paintings of Goya (2001) trb/piano Sacco, P(atrick). Peter (1928-2000) Tuba Mirum (p1972) solo bass trb Weber, Alain (b. 1930) Concerto (1964) trb/orch (piano) Zugger, Thomas W. (b. 1964) Sonata (p2008) trb/piano * trb - indicates the solo part only in Mueller45 and/or Hansen46 collections
45 Robert Müller, Studies and Concert Pieces for the Trombone, (Frankfurt: Musikverlag Zimmerman, n.d.), 2 vols. 46 Arno Hansen, Solobuch für Posaune, (Hamburg: D. Rahter, 1953), 4 vols. Most, if not all of the works found in these two collections are from the nineteenth century or clearly are composed in that tonal language.
29
Bibliography Music Alschausky, Serafin. Konzert No. 1. London: D. Rahter, 1911. ____________. Walzer - Arie No. 2. Hamburg: D. Rahter, 1955 Arnold, Malcolm. Quintet op. 73. Leipzig: Paterson's Publications, 1961. Barfield, Anthony J. Meditations of Sound and Light. Upper Nyack, NY: Alessi Publishing, 2007 Bartmuss, Richard. Recitative and Arioso, op. 24. Ditzingen, Germany: Edition Musica Rinata,
1994. Bass, Randol Alan. Three Vignettes. Austin, TX: Randol Bass Music, 2010. Beckel, James A., Jr. Concerto for Trombone. Milwaukee, WI: Hal Leonard, 2015. Beer, Jeff. Challenge. Berlin: Bote & Bock, 1978. Belcke, Friederich August. Fantasia, op. 58. Renningen, Germany: C. F. Schmidt, 1991. ____________. Sieben Etüden für Baßposaune und Klavier, op. 62. Paul Heber, ed. Leipzig:
Friederich Hofmeister Musikverlag, [n.d.]. Berlioz, Hector. La Grande Pâque Russe, op. 36. Leipzig: M. P. Belaiff, 1890. ____________. Roméo et Juliette, Op. 17. Paris: C. Joubert, 1857. ____________. Symphonie Funèbre et Triomphale. Leipzig: Breitkopf & Härtel, 1900. Bernaud, Alain. Exponentielles. Paris: Societe Editions Musicales Internationales, 1980. Bessonnet, Georges. Récitatif et Petite Allegro. Paris: Gerard Billadout, 1982. Bigot, Eugène. Impromptu. Paris: Alphonse Leduc, 1927. Blass, Noa. Recitative. Villiers sur Marne, France: Editions Ambrioso, 1993. Bottje, Will Gay. Recitative, Arioso and Finale. New York: Composers Facsimile Edition, 1962. Boutry, Roger. Cinq Pieces a Quatre. Paris: Alphonse Leduc, 1961. Brandon, Sy. Tapestries. Cottonwood, AZ : Co-op Press, 1994.
30
Brehm, Alvin. Trio for Brass. Hastings-on-Hudson, NY: General Music Pub. Co., [c1977]. Brown, Charles. Recitatif, Lied et Final. Paris: Alphonse Leduc, 1961. Büttner, Max. Improvisation für Posaune und Klavier, Op. 6. Leipzig: Veb Friedrich Hofmeister
Musikverlag, 1928. Chandler, Erwin. Recitative and Allegro. Mohnton, PA: Paterchan Music, 2013. Childs, Barney. Sonata for Solo Trombone. Bryn Mawr, PA: Tritone Press, 1962. Chrétien, Hedwige. Andante et Allegro. Paris: Millereau Edié., 1886. Cimera, Jaroslav. Recitative and Caprice. Detroit, MI: Remick Music, 1954. Crocé-Spinelli, Bernard-Louis. Solo de Concours. Paris: Alphonse Leduc, 1945. Croley, Randell. Divertissement for Bass Trombone and Piano. Ithaca, NY: Ensemble
Publications, 1968. David, Ferdinand. Concertino, Op. 4. Edited by Robert Müller. New York, NY: Carl Fischer,
1964. David, Norman. Recitation/Explorartion. By the composer, 2010. Demersseman, Jules. Introduction et Polonaise, op. 30. Paris: Gérard Billaudot, Éditeur, n.d. Depetris, Claude. Recitatif et Allegro. Oostende,Belgium: Andel, Edition 1988. Duncan, John. Divertimento. Ms by the composer, 1951. Ewazen, Eric. Sonata. San Antonio, TX: Southern Music Co., 1998. Fleischmann, Otto. Concertino, Op. 35. Bremen: A. E. Fischer, [190-]. Frackenpohl, Arthur. Suite for Unaccompanied Bass Trombone. New York, NY: Anglo
American Music Publishers, 1983. Freidlin, Jan. A Little Theater Buffo. Vancouver, BC: Cherry Classics, 2012. ____________. Romantic Concerto. Vancouver, BC: Cherry Classics, 2004. Frith, John. Behind the Mask. Coventry, England : Warwick Music, 2006. ____________. Sonata. Vancouver: Cherry Classics Music, 2008.
31
Gay, Harry. Sonata. Listed in Everett Annotated Guide . . . Gilbert, Anthony. Recitative. York, England: University of York Music Press, 2015. Gräfe, Friedebald. Concerto. New York, NY: Edwin Kalmus, n.d. Grøndahl, Launy. Concerto Pour Trombone et Piano ou Orchestre. Copenhagen: Dan Fog
Musikforlag, 1976. Composed in1924. Gross, Eric. Three Pieces for E-flat alto trombone and piano. Sydney:[E. Gross], 1996. Große-Schware, Hermann. Recitative. Koln: Verlag Dohhr, 1997.
Grube, Fritz. Concertino. Hamburg: Anton J. Benjamin, 1958. Hailstork, Aldolphus. John Henry’s Big (Man vs. Machine). Bryn Mawr, PA: Theoodore Presser,
2012. Hansen., Arno. Solobuch für Posaune, 4 vols. Hamburg: D. Rahter, 1953. Haydn, Johann Michael. Serenade in D, Perger 87. Munich: Musikproduction Höflich, 2016. Heath, Reginald. Recitative and Romance. Wellingborough, England: R. Smith & Company,
1970. Higgins, Timothy. Flux. San Francisco: 415 Music, 2015. Hoskins, William Barnes. Recitative and Aria. Chicago: Briar Music Press, 2007. Jackson, Francis. Recitative and Allegro. No publishing information is currently available. Jacob, Gordon. Concerto for Trombone and Orchestra. New York, NY: Galaxy, 1956. Jehmlich, Robert. Concertino in A-flat, op. 3. Hamburg: D. Rahter, [1900?]. Joubert, Claude Henry. Rudéral. Paris: Gerard Billadout, 1980. Kallman, Daniel. Three Admirations. Northfield, MN: Kallman Creates Publications, 2003. Konowalski, Benedykt. Ecumenical Triptych. Ms. Krejčí, Miraslov. Sonatina. Miraslov Krejčí, 1961, licensed solely to Cherry Classics Music. Kühne, J. C. Concertino in E-flat Major. New York, NY: Edwin Kalmus, [1940?].
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Larsson, Lars-Erik. Concertino, op. 45, no. 7. Stockholm: Carl Gehrmans Musikförlag, 1957. Lauga, Émile. Concerto in F minor. New York, NY: Edition Musicus, [196-]. Lemaire, Jean. Récit pour un debutante. Paris: Gérard Billadout, n.d. Lovec, Vladimir. Recitative and Aria. Cologne: Musikverlag Hans Gerig, 1973. Massis, Amable. Suite pour Quatre Trombones. Paris: Editions Musicales Transatlantiques,
1964. Matêj, Jožka. Informatorium. Prague: Panton, 1968.
Thirty-eight small pieces for trombone and piano illustrating various styles and forms. Number 21 is Recitativ.
McCarty, Patrick. Recitative and Fugue. North Easton, MA: Robert King Music, Co., 1960. Michel, Jean-François. Hommage à Jean Tinguely. Montana, Switzerland: Editions Marc Reift,
1994. Monaco, Richard A., Sonata. New York, NY: Philharmusica Co., 1969. Müller, Christian Gottlieb. Concertino Es-dur für Bassposaune. Edited by Nick Pfefferkorn.
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Paudert, Ernst. Berühmte Arie. Hamburg: Simrock, 1934. Peaslee, Richard. Arrows of Time. Newton Centre, MA: Margun Music, Inc., 1997. Pfeiffer, George-Jean. Solo de Trombone. Paris: Alphonse Leduc, [1899?]. Phillips, Mark. T. Rex for Trombone and Tape. Seckington, England: Warwick Music
Publishing, 1996. Planel, Robert. Air et Final. Paris: Alphonse Leduc, 1968. Plog, Anthony. Four Themes on Paintings of Goya. Vuarmarens, Switzerland: Editions BIM,
2002. Reiche, Eugen. Konzert No. 2 (A Dur). Frankfurt: Musikverlag Zimmerman, n.d. (1878-1946)
33
Reinhardt, Bruno. Music for Trombone Solo. Jerusalem: Israeli Music Publications, 1965. Rimsky-Korsakov, Nicolai. La Grande Pâque Russe, Op. 36. Leipzig: Edition M. P. Belaïeff,
1890. ____________.. Scheherazade, Op. 35. Leipzig: Edition M. P. Belaïeff, 1889. Robertson, Donna N. Recitation with Five Reflections. Newton, IA: TAP Music Sales, 1988. Rozankovic, Anthony. Figabone - Paraphrases sur des themes de Mozart. Quebec: [A.
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34
Stekke, Léon. Variations for Trombone and Piano, Op. 24. Oostende: Editions Andel, [1942?]. Stephens, John. Creations. Newton, IA: TAP Music Sales, n. d. Tomasi, Henri. Fanfares Liturgiques. Paris: Alphonse Leduc, 1952. Toulon, Jacques. Récitation. Macon, France: Editions Robert Martin, 1984. Tournier, Franz. Recit et Rondo. Paris: Editions le Rideau Rouge, 1969. Tremblot De La Croix, Francine. Le Tombeau De Goya. Paris: Alphonse Leduc, 1982. Tyrell, H. W. 40 Progressive Studies for Trombone. London: Boosey & Hawkes, 1927. Van Appledorn, Mary Jeanne. Passages. Seckington, England: Warwick Music Publishing,
1997. ____________. Passages II. Seckington, England: Warwick Music Publishing, 1998. Warnecke, Max. Konzertstück, Op. 28. Leipzig: Musikverlag Zimmermann, 1900. Weber, Alain. Concerto. Paris: Alphonse Leduc, 1964. White, Donald. Serenade no. 3. Delaware Water Gap, PA: Shawnee Press, 1965. Wills, Simon. Street Song Variations. Seckington, England: Warwick Music Publishing, 2002. Zugger, Thomas W. Sonata. By the composer, 2008. Books Anderson, E. Ruth, ed. Contemporary American Composers: A Biographical Dictionary, 2nd Ed.
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The Brass Press, 1985. Guion, David M. A History of the Trombone. Lanham, UK: The Scarecrow Press, Inc., 2010. Herbert, Trevor. The Trombone. New Haven, CT: Yale University Press, 2006.
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Mersenne, Marin. Harmonie universelle: The Book on Instruments. Translated by Roger E. Chapman. The Hague: M. Nijhoff, 1957.
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16-22. Krause, Sebastian. "God of the Trombone.” Brass Bulletin 117 (2002): 68-80.
(Quiesser) Lewis, Michael. "Solo Trombone Performances at the Gewandhaus in the 18th [sic 19th]
Century." ITA Journal 20/3 (Summer 1992): 27-32. Rasmussen, Mary. “Two Early Nineteenth-Century Trombone Virtuosi: Carl Traugott
Quiesser and Friedrich Belcke." Brass Quarterly 5 (1961-1962): 3-17. Reifsnyder, Robert. The Romantic Trombone and its Place in the German Solo Tradition: Part
One.” ITA Journal 15/2 (1987): 20-23. ____________. The Romantic Trombone and its Place in the German Solo Tradition: Part
Two.” ITA Journal 15/3 (1987): 32-37.
36
Streeter, Thomas W. "The Historical and Musical Aspects of the 19th Century Bass Trombone (Part 1)." ITA Journal 3 (1975): 23-24.
____________. "The Historical and Musical Aspects of the 19th Century Bass Trombone
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