2017 International Trombone Festival: Selected Texts and ...€¦ · 2017 International Trombone...

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2017 International Trombone Festival: Selected Texts and Program Notes WEDNESDAY, JUNE 28 1:00 PM Michael Mulcahy, Recital, Memorial Chapel “Heine Lieder” from Schwanengesang D957 Franz Schubert (1797-1828) Der Atlas Ich unglücksel'ger Atlas! Eine Welt, Die ganze Welt der Schmerzen muß ich tragen, Ich trage Unerträgliches, und brechen Will mir das Herz im Leibe. Du stolzes Herz, du hast es ja gewollt! Du wolltest glücklich sein, unendlich glücklich, Oder unendlich elend, stolzes Herz, Und jetzo bist du elend. Ihr Bild Ich stand in dunkeln Träumen und starrte ihr Bildnis an, und das geliebte Antlitz Heimlich zu leben begann. Um ihre Lippen zog sich Ein Lächeln wunderbar, Und wie von Wehmutstränen Erglänzte ihr Augenpaar. Auch meine Tränen flossen Mir von den Wangen herab - Und ach, ich kann's nicht glauben, Daß ich dich verloren hab! Das Fischermädchen Du schönes Fischermädchen, Treibe den Kahn ans Land; Komm zu mir und setze dich nieder, Wir kosen Hand in Hand. Leg an mein Herz dein Köpfchen Und fürchte dich nicht zu sehr; Vertraust du dich doch sorglos Täglich dem wilden Meer. Mein Herz gleicht ganz dem Meere, Hat Sturm und Ebb' und Flut, Und manche schöne Perle In seiner Tiefe ruht. Atlas I, wretched Atlas, a world The whole world of pain I must carry, I bear the unbearable, and my heart Is breaking in my body. You proud heart, you wanted it so! You wanted to be happy, eternally happy, Or eternally miserable, proud heart, And now you are in misery. Her Portrait I stood in dark dreams And stared at her image, And the beloved visage Quietly came to life. Upon her lips appeared A smile so wonderful, And as if from tears of sadness Her eyes sparkled. And my tears flowed as well Down from my cheeks— And oh, I just can’t believe, That I have lost you! The Fisher Girl You lovely fisher girl, Row your boat to shore; Come to me and sit down, We’ll cuddle hand in hand. Lay your head on my breast And don’t be so afraid; You trust yourself without care Daily to the untamed sea. My heart is like the ocean, Has storm and ebb and flood, And many a lovely pearl Rests in its depths.
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  • 2017InternationalTromboneFestival:SelectedTextsandProgramNotesWEDNESDAY,JUNE281:00PM MichaelMulcahy,Recital,MemorialChapel“HeineLieder”fromSchwanengesangD957 FranzSchubert(1797-1828)DerAtlasIchunglücksel'gerAtlas!EineWelt,DieganzeWeltderSchmerzenmußichtragen,IchtrageUnerträgliches,undbrechenWillmirdasHerzimLeibe.DustolzesHerz,duhastesjagewollt!Duwolltestglücklichsein,unendlichglücklich,Oderunendlichelend,stolzesHerz,Undjetzobistduelend.IhrBildIchstandindunkelnTräumenundstarrteihrBildnisan,unddasgeliebteAntlitzHeimlichzulebenbegann.UmihreLippenzogsichEinLächelnwunderbar,UndwievonWehmutstränenErglänzteihrAugenpaar.AuchmeineTränenflossenMirvondenWangenherab-Undach,ichkann'snichtglauben,Daßichdichverlorenhab!DasFischermädchenDuschönesFischermädchen,TreibedenKahnansLand;Kommzumirundsetzedichnieder,WirkosenHandinHand.LeganmeinHerzdeinKöpfchenUndfürchtedichnichtzusehr;VertraustdudichdochsorglosTäglichdemwildenMeer.MeinHerzgleichtganzdemMeere,HatSturmundEbb'undFlut,UndmancheschönePerleInseinerTieferuht.

    AtlasI,wretchedAtlas,aworldThewholeworldofpainImustcarry,Ibeartheunbearable,andmyheartIsbreakinginmybody.Youproudheart,youwanteditso!Youwantedtobehappy,eternallyhappy,Oreternallymiserable,proudheart,Andnowyouareinmisery.HerPortraitIstoodindarkdreamsAndstaredatherimage,AndthebelovedvisageQuietlycametolife.UponherlipsappearedAsmilesowonderful,AndasiffromtearsofsadnessHereyessparkled.AndmytearsflowedaswellDownfrommycheeks—Andoh,Ijustcan’tbelieve,ThatIhavelostyou!TheFisherGirlYoulovelyfishergirl,Rowyourboattoshore;Cometomeandsitdown,We’llcuddlehandinhand.LayyourheadonmybreastAnddon’tbesoafraid;YoutrustyourselfwithoutcareDailytotheuntamedsea.Myheartisliketheocean,Hasstormandebbandflood,AndmanyalovelypearlRestsinitsdepths.

  • DieStadtAmfernenHorizonteErscheint,wieeinNebelbild,DieStadtmitihrenTürmen,InAbenddämmrunggehüllt.EinfeuchterWindzugkräuseltDiegraueWasserbahn;MittraurigemTakterudertDerSchifferinmeinemKahn.DieSonnehebtsichnocheinmalLeuchtendvomBodenemporUndzeigtmirjeneStelle,WoichdasLiebsteverlor.AmMeerDasMeererglänzteweithinausImletztenAbendscheine;WirsaßenameinsamenFischerhaus,Wirsaßenstummundalleine.DerNebelstieg,dasWasserschwoll,DieMöwefloghinundwieder;AusdeinenAugenliebevollFielendieTränennieder.IchsahsiefallenaufdeineHandUndbinaufsKniegesunken;IchhabvondeinerweißenHandDieTränenfortgetrunken.SeitjenerStundeverzehrtsichmeinLeib,DieSeelestirbtvorSehnen;Michhatdasunglücksel'geWeibVergiftetmitihrenTränen.DerDoppelgängerStillistdieNacht,esruhendieGassen,IndiesemHausewohntemeinSchatz;SiehatschonlängstdieStadtverlassen,DochstehtnochdasHausaufdemselbenPlatz.DastehtaucheinMenschundstarrtindieHöheUndringtdieHändevorSchmerzensgewalt;Mirgraustes,wennichseinAntlitzsehe-DerMondzeigtmirmeineeigneGestalt.DuDoppelgänger,dubleicherGeselle!WasäffstdunachmeinLiebesleid,DasmichgequältaufdieserStelleSomancheNacht,inalterZeit?

    TheTownOnthedistanthorizonAppearslikeacloud-imageThetownwithitsspiresShroudedinthegloomofevening.AdampbreezerufflesThegreensurfaceofthewater;InamournfulrhythmrowsTheboatmaninmycraft.ThesunrisesonceagainGlowingabovetheearthAndshowsmethatspotWhereIlostmybeloved.AttheSeashoreTheseasparkledfarandwideInthelastglowofevening;Wesatatthelonelyfisherman’shut,Wesatsilentandalone.Thefogrose,thewatersurged.Thegullflewbackandforth;FromyourlovelyeyesThetearsdropped.IsawthemfalluponyourhandAndfellonmyknees;AndfromyourwhitehandIdrankawaythetears.SincethattimemybodypinesMysoulisdyingwithyearning;ThewretchedwomanPoisonedmewithhertears.TheGhostlyDoubleThenightisquiet,thestreetsaresilent,Mybelovedlivedinthishouse;Sheleftthetownalongtimeago,Butthehousestillstandsinthesameplace.Amanstandsthere,too,andstaresupwardAndwringshishandswiththeforceofhispain;I’mhorrifiedwhenIseehisface—Themoonshowsmemyownlikeness.Youghostlydouble,youpallidfellow!Whydoyouapemylovesickness,ThattormentedmehereSomanynightslong

  • 8:00PM IanBousfield,Recital,MemorialChapelIchbinderWeltabhandengekommenfromRückertLieder GustavMahlerIchbinderWeltabhandengekommen,MitderichsonstvieleZeitverdorben,Siehatsolange[vonmirnichts]1vernommen,Siemagwohlglauben,ichseigestorben.Esistmirauchgarnichtsdarangelegen,Obsiemichfürgestorbenhält,Ichkannauchgarnichtssagendagegen,DennwirklichbinichgestorbenderWelt.Ichbingestorbendem[Weltgewimmel]2,Undruh'ineinemstillenGebiet.Ichleb'allein[inmirundmeinem]3Himmel,InmeinemLieben,inmeinemLied.

    IamlosttotheworldwithwhichIusedtowastesomuchtime,IthasheardnothingfrommeforsolongthatitmayverywellbelievethatIamdead!ItisofnoconsequencetomeWhetheritthinksmedead;Icannotdenyit,forIreallyamdeadtotheworld.Iamdeadtotheworld'stumult,AndIrestinaquietrealm!Ilivealoneinmyheaven,Inmyloveandinmysong.

  • THURSDAY,JUNE299:30AM StuartDempsterRetrospectiveRecital,LoeweTheaterAllworkscommissionedandpremieredbyStuartDempsterRicercareà5forTrombones(1966) RobertErickson(1917-1997)Ricercareà5forTromboneswascomposedinsuchawaythatitcouldbeperformedeitherwithfiveplayersorbyhavingthesoloistpre-recordfouroftheparts,thenperformwiththosepartsonloudspeakers.Thepreferredinstrumentationiswithcontrabassandaltotrombonesinadditiontotheusualtenor-basstrombones.InthespiritoftheBaroquemodeltheRicercareà5isthrough-composedandcharacterizedbyimitationbetweenthevoices.Thetechnicaldemandsmadeonthetrombonistaremanifoldandincludemultiphonics(simultaneoussingingandplaying);whistling,quarreling,andbellowingintotheinstrument;andtheimitationofpercussionsounds.EricksonbeganhisformalmusicalstudyattheChicagoConservatoryofMusic.In1936hemetErnstKrenekwithwhomhestudiedfirstprivatelyandthenatHamlineUniversity,St.PaulMinnesota.EricksonsubsequentlytaughtattheSanFranciscoConservatoryofMusicforseveralyears,afterwhichhebecameafoundingprofessorattheUniversityofCaliforniaatSanDiego.BeforemovingtoUCSDhebecamewellknownintheBayAreawherehetaughtvariouscomposers,suchasPaulineOliveros,TerryRiley,andLorenRush.Heisnotedforhisinnovativeexaminationofsound,asexemplifiedbyhisbookSoundStructureinMusic(UCPress1975).SequenzaVforTromboneSolo(1966) LucianoBerio(1925-2003)SequenzaVwasfirstperformedinSanFranciscoonMarch21,1966.Berio'sownprogramnoteontheworkischaracteristicallyelusiveaswellasallusive:"BehindSequenzaIIIandSequenzaVlurksthememoryofGrock,thelastgreatclown.Grockwasmyneighbor.Helivedinastrangeandcomplicatedvillawithsmallpagodas,streams,bridges,andwillowtrees.Manytimes,withmyschoolmates,Iclimbedahighironfencetostealorangesandtangerinesfromhisgarden.Duringmychildhoodthecloseness,theexcessivefamiliaritywithhisnameandtheindifferenceoftheadultsaroundme,preventedmefromrealizinghisgenius.ItwasonlylaterwhenIwas,perhaps,eleventhatIsawhimperformonthestageofTeatroCavourinPortoMaurizioandunderstoodhim.LikeeveryoneelseintheaudienceIdidn'tknowwhetherIshouldlaughorcryandwantedtodoboth.AfterthatexperienceIstolenomoreorangesfromhisgarden."MusicforTromboneandPiano(1966) BarneyChilds(1926-2000)MusicwaswritteninJuly1966andpremieredthefollowingSeptemberwhenChildswasatDeepSpringsCalifornia.Hewrites:“Itisconcerned(asallmusic,ofcourse)withsoundandsilence:hereeachshapestheother,neitherismoreorlessimportant.Thesonorityanddensityofthesoundvaryconstantly,gatheringandfading,fromaustereclangortotenuousresonance,fromlongstaticorslowly-changingsteady-levelsustainednotestosinglebriefsoundsilluminatingandgivingshapetosilence:andallthisdefinesandqualifiesthefunction,thetensionsanddensities,ofthesilencesinturn.”FivePiecesforTromboneandPiano(op.168)(1967) ErnstKrenek(1900-1991)

  • Krenekwrites:“ListeningtoStuartDempster’sexperimentaltapesprovidedsomeoftheideasthatwereincorporatedinthelooselyknitsequenceofthesepieceswiththeintentionofgivingDempsteranopportunitytoexploitsomeofthenewstylesandtechniqueshehadinventedanddevelopedforplayinghisinstrument.Thustheformofthepiecesissomewhatimprovisatoryratherthanstrictlyconstructed,andcombinedramatic,lyrical,andwhimsicalmoodsandcontrastingtextures."GeneralSpeechforSoloTrombone(1969) RobertErickson(1917-1997)Thecomposer'swife,LenoreErik-Alt,designedthestaging,lightingandcostume.EricksonprovidesthefollowingnotesonGeneralSpeech:"Thesoundsofonelanguageareoftendifficulttodescribeintermsofthecategoriesusedfordescribinganother;andthemoreonelooksatthelanguagesoftheworld,themoreoneseemstohavetoincreasethenumberofphoneticcategoriesrequiredformakingadequatedescriptions.Whetherthisissoornotdependsinpartonwhatonemeansbymakinganadequatephoneticdescription..."Wemaynowconsiderthegeneralformofthekindofphoneticdescriptionthatisbeingproposedhere.Itmust,likeotherpartsofthedescriptionofalanguage,becapableofbeingexpressedcompletelyinasetofexplicitstatementsorrules,sothatwecanbesurethatnointuitive(possiblefallacious)conceptsarerequiredforitsinterpretation.Ultimately,itwouldbeconvenientiftherulesproducedasetofsignalswhichcouldcontrolaspeechsynthesizer.Thenwecouldbecertainthattheentireaccountofalanguagewascontainedintherulesandthetheory(whichwouldhavetoincludeaspecificationofthespeechsynthesizer).Suchadescriptioncould,inaveryliteralsense,bepartofagenerativegrammar:thegrammarwouldbeverypowerfulinthatitwouldcontainruleswhichwerenotmerelypossible(specifyingcorrectbutnotnecessarilyallthephoneticcorrelates)butnecessaryandsufficient(containingallandonlytheinformationrequiredtogeneratespeech)."

    (from“WorkingPapersinPhoneticsVI”-PeterLadefoged)FromStuartDempster:“IfirstmetRobert“Bob”EricksonatSanFranciscoState.In1960afterIreturnedfromEuropewhereIplayedinthe7thArmySymphonyImethimagain.BythistimeheandIwerebothteachingattheSanFranciscoConservatory.IjoinedinonvariousimprovsessionsandsoonwebothwerethinkingaboutapiecethatwouldfeaturetromboneandthusRicercareá5cameforth.Wespentalotoftimetogetherexperimentingwithnewsoundsthatwebothfoundinteresting.Heoncedescribedmeashis“firstsynthesizer!”BythetimeIcommissionedGeneralSpeechthe“synthesizer”aspecthadclearlymanifesteditselfanditisanenormouspartofthepiece.Healsoencouragedmetocontactothercomposersandsendthemdemotapes;itwashewhosubtlyprovidedthemotivationformetocommissionpieces.LittledidIknowhowmanytheaterpieceswouldemergebutifsomecomposerswantedtodothatIwasgame.Mybottomlinewas–andis–forthecomposerstobethemselves.ItreasuremytimewithBob;inmanywayshewaslikeafathertome–certainlyamusicalfather–andIamforevergrateful.”

  • 11:00AM TimothyHiggins,Recital,MemorialChapelTimothyHiggins,tromboneYokoYamada,pianoHymntoForgottenMoonsfortromboneandpiano AnthonySuter(b.1979)Thisistheworldpremiereoftheversionfortromboneandpiano,whichisaresultofacollaborationwithTimHiggins.Theoriginalversionoftheworkwaswrittenin2005forcelloandpiano(likelotsofpeoplein2005,IwaslisteningtoatonofRadiohead,andIthinktheinfluenceisprettyaudible).Thepiece'srichlylyricalandmelodically-drivenunfoldingtranslatedverynaturallytothetrombone,andIamverypleasedwiththeresult.IoweahugethankstoTimforgivingmetheideaandintrepidlyagreeingtobringitintotheworldhereattheInternationalTromboneFestivalattheUniversityofRedlands.LiedereinesfahrendenGesellen GustavMahler(1860-1911)

    I

    WennmeinSchatzfröhlicheHochzeitmacht,Hab'ichmeinentraurigenTag!Geh'ichinmeindunklesKämmerlein!Weine!Wein'!UmmeinenliebenSchatz!Blümleinblau!Verdorrenicht!Vögleinsüss!DusingstaufgrünerHeide!Ach!WieistdieWeltsoschön!Ziküth!Singetnicht!Blühetnicht!Lenzistjavorbei!AllesSingenistnunaus!DesAbendswennichschlafengeh',DenkichanmeinLeide!

    Whenmylove'shappyweddingdaycomes,Itwillbeasaddayforme!Iwillgotomydarklittleroom!Weep,Weep!Overmydearlove!Littleblueflower,donotwither!Sweetlittlebird,singinginthegreenheath!Ah!Howbeautifulistheworld!Zikueth!Donotsing.Donotbloom!Springispassed!Allsongisnowstopped!AtnightwhenIgotosleep,Ithinkofmysorrow!

  • II

    Gingheut'Morgenüber'sFeld,TaunochaufdenGräsernhing;Sprachzumirderlust'geFink:“GutenMorgen!Ei,du!Gelt?Wird'snichteineschöneWelt?Zink,Zink!Schönundflink!WiemirdochdieWeltgefällt!"AuchdieGlockenblum'amFeldHatmirlustigguterDing'MitdenGlöckchen,klinge,kling,IhrenMorgengrussgeschellt:"Wird'snichteineschöneWelt?Kling,kling!SchönesDing!WiemirdochdieWeltgefällt!Heia!UnddafingimSonnenscheinGleichdieWeltzufunkelnan;AllesTonundFarbegewannimSonnenschein!Blum'undVogel,grossundklein!"GutenTag,gutenTag!Ist'snichteineschöneWelt?Ei,du!Gelt?Ei,du!Gelt?NunfängtauchmeinGlückwohlan?Nein!Nein!Dasichmein'.Mirnimmer,nimmerblühenkann!"

    AsIwalkedthroughthefieldthismorning'Dewstillhungonthegrass;Agayfinchspoketome:"Goodmorning!Don'tyouthinkTheworldisgoingtobebeautiful?Zink!Zink!Prettyandbrisk!Howtheworldpleasesme!EventhebluebellinthefieldTinkledgailyandcheerfullyItsmorninggreetingtome!"Isn'titgoingtobeabeautifulworld?Ring,ring!Lovelything!Howtheworldpleasesme!Heia!AndtheretheworldbegantosparkleInthesunshineEverythingbecamesoundandcolorinthesunshine!Flowerandbird,greatandsmall!"Goodday,goodday!Isn'titabeautifulworld?Don'tyouthinkitis?Nowwillmygoodfortunesurelybegintoo?No.!No!Ibelieveitcannever,neverBloomforme!

  • IIIIchhab'einglühendMesser,EinMesserinmeinerBrust,Oh,weh!Oweh!Dasschneidt'sotiefInjedeFreud'undjedeLust!Ach,wasistdasfüreinböserGast,NimmerhälterRuh',nimmerhalterRast,NichtbeiTag,nochbeiNacht,wennichschlief!Ohweh!Ohweh!WennichindenHimmelseh',Seh'ichzweiblaueAugensteh'n!WennichimgelbenFeldegeh',Seh'ichvonferndasblondeHaarimWindeweh'n!Oweh!Oweh!WennichausdemTraumauffahr'UndhöreklingenihrsilbernLachen,Oweh!Oweh!Ichwoltt'ichläg'aufderschwarzenBahr',Könnt'nimmer,nimmerdieAugenaufmachen!

    Ihaveaglowingknife,Aknifeinmybreast,0woe!ItcutssodeeplyIntoeveryjoyandpleasure!Ah,whatawickedguest,Heneverkeepspeace,neverkeepsrest,Neitherbyday,noratnightwhenIsleep!0woe!WhenIlookupintotheheavens,Iseetheretwoblueeyes!WhenIwalkintheyellowfields,Iseeinthedistancetheblondhairwavinginthewind!0woe!WhenIawakefromadreamAndheartheringofhersilverlaughter,0woe!IwouldthatIwerelyingontheblackbier.Andcouldnever,neveropenmyeyes.

  • IVDiezweiblauenAugenvonmeinemSchatz,DiehabenmichindieweiteWeltgeschickt.Damusst'ichAbschiednehmenvomaller-liebstenPlatz!0Augenblau!Warumhabtihrmichangeblickt?Nunhab'ichewigLeidundGrämen!IchbinausgegangeninstillerNacht,WohlüberdiedunkleHeide.HatmirniemandAdegesagt:MeinGesellwarLieb'undLeide!AufderStrassestandeinLindenbaum,Dahab'ichzumerstenMalimSchlafgeruht!UnterdemLindenbaum,DerhatseineBlütenübermichgeschneit,Dawusstichnicht,wiedasLebentut,Waralleswiedergut!Lieb'undLeid!UndWeltundTraum!

    ThetwoblueeyesofmyloveHavesentmeintothewideworld.Ihadtosay'farewelltothedearestofplaces!Oblueeyes!Whydidyoulookonme?Noweternalgriefandsorrowaremine!Iwalkedoutintothestillnessofthenight,Faroutoverthedarkheath.Iwentoutintothequietnightwellacrossthedarkheath.Tomenoonebadefarewell.Farewell!Mycompanionsareloveandsorrow!Ontheroadtherestandsalindentree,andthereforthefirsttimeIfoundrestinsleep!Underthelindentreethatsnoweditsblossomsontome-Ididnotknowhowlifewenton,andallwaswellagain!All!All,loveandsorrowandworldanddream!

    1:30PM TheKennyCycleI–TheAlto,TenorandContrabassSonatas,LoeweTheaterSonataforUnaccompaniedAltoTrombone JohnKennyManypeopledon’trealizethatthereisanentirefamilyoftrombones:soprano,alto,tenor,bassandcontrabass.Ifthe16thand17thCenturieswerethegoldenageofwritingforthetrombone,nonethelessallthesevoicescontinuedtobeuseduptothe18thCentury(Bachwroteforthesopranotrombone),andthealtotromboneinparticularbecameanextremelyimportantleadingvoice.TheonlysurvivinglateBaroqueandearlyClassicaltromboneconcertos(LeopoldMozart,MichaelHaydn,J.G.Albrechtsberger)areforthealtotrombone.However,bythelate18thCenturythesopranohadcompletelyfallenoutofuse,late19thCenturythealtowasgoingthesameway.Bythemid-20thCenturythetrombonesectionofmostEuropeanorchestrascomprisedtwotenortrombonesandabass.However,inthelastquarterofthe20thcenturyanincreasedinterestin“authenticity”,nottomentionareactionofmusicaltaste,hasrestoredthealtotoitsrightfulpositiontheorchestraltrombonechoir.AtthetimewhenIwasastudentinthemid70’s,thealtowasanoptionalextrawhichfewtrombonistsgavemuchthought-nowitisabsolutelyessentialforanyoneaspiringtoplayprincipaltromboneinasymphonyorchestratoplaythealto,andplayitwell!Imyselftookupthealtotrombonemoretoexploreitspotentialasachambermusicandsoloinstrument-andhaveconsistentlyuseditthuseversince,soitwasnaturalformetowriteasolopiecetoexploremyownnotionsofitscharacterasasolovoice.Thepiecedidnotstartoutasasolorecitalwork,however-thematerialformedpartofa45-minutedancetheatreduowhichIwroteincollaborationwiththeGhanaianchoreographerRosinaBonsu,

  • EndlessParabola,andreceiveditspremierinthatformattheTronTheatre,Glasgow,aspartoftheDanceUmbrellaFestivalof1994.Initsoriginalsetting,eachofthe3movementsformedaseparate,intense“ballet”whichemergedasisolatedeventswithinatheatricalwhole.Therelationshipofmusicandphysicalmovementwasfundamentalinthesonata’sconception.Itisdedicatedtomymother.SonataforUnaccompaniedTenorTrombone JohnKennyThispiecewascomposedin1983/4,andwaspremieredattheFestivaldeLaRochelle,France,onJune23rd1984.Myoriginalintentionhadbeentowriteasetofconcertstudies,tohelpintroduceadvancedplayersto“extendedtechniques”:however,Ifoundthisaratherdrytaskandthematerialquicklydevelopedintoathreemovementrecitalpiece.Thedidacticintentrevealsitself,however,inthedeliberateexaminationofsuccessivetechniques:advancedlipflexibilities,multiphonics,doodle-tonguing,inhaledtones,breatheffects,andfinallyatransferofdidgeridootechniqueontothetrombone-circularbreathingcoupledwithcontinuallyshiftingvowelcolorationofasinglepitch.Formallythe1stmovementtreatsitsmaterialinthemannerofabaroquefantasia,baseduponamelodyinthestyleofanIrishlilt.The2ndmovementisamoto-perpetuoheavilyinfluencedbyjazztechniques,andparticularlytheplayingofFrankRossolino.Whilstthesetwomovementstietheplayerstrictlytonotation,thethirdmovementisdeliberatelysparseinnotation,leavingtheplayerfreetoexploreeveryconceivablepermutationofcolourandrhythmobtainablewithinjustonenote-alowF#.Themelodyinmultiphonicsattheendofthismovementisacounter-subjecttothemelodyattheheartofthefirstmovement-intendedasanexultantrelieffromtheconfinesofstrictnotation,somuchsothattheplayermustneedsscream!Thepieceendswithfragmentedchatteringandonefinaltongueslaprocketingairthroughtheinstrumentwithoutanyconventionalvibrationofthelips.TheSonatawasdedicatedtothecomposerPaulKeenanandthechoreographerJaneNoonan,asaweddingpresent.SonataforContrabassTrombone JohnKennyThisisthesixthinmyseriesofunaccompaniedsonatasforallmembersofthetrombonefamily.Startingwiththetenortrombonesonatain1983,thelistincludesaltotrombonein1994,twosonatasforbasstrombonein1999(the2ndtitledBamburghBeach)andasonataforspecificallyfemaletenortrombonistin2000(SecretHouse)Mysixthsonata,forcontrabasstrombone,wascommissionedbyDavidBobrofwiththefinancialsupportofboththeInternationalTromboneAssociationandofTheScottishArtsCouncil.DavidBobrofgavetheworldpremierinGlasgowonApril24th2005,aspartofTheRoyalScottishAcademyofMusicandDrama’sBrassSpectacularFestival.DavidBobrofandIfirstmetatthe1996InternationalTromboneFestivalinFeldkirch,Austria.ThiswasthefirsttimethatI,incommonwithmostlisteners,hadeverreallyheardthecontrabasstromboneoutsidetheoperapit,andmyinterestintheinstrumentwasdefinitelyaroused.However,attheITF2000,heldinUtrecht,Holland,weweretreatedtoanassemblageofthefinestcontrabasstrombonistsintheworldplayinginensemblesandcomparingnotes.BobrofandImetagain,andstartedtodiscussthepossibilitiesofaserioussoloconcertworkfortheinstrument.Thispieceistheresultofourdiscussions,carriedonbetweenScotlandandIceland–butitcouldneverhavebeenwrittenwithoutthegeneroussupportoftheinstrumentmakersMaxandHeinrichThein,wholentmeoneoftheirmagnificentcontrabasstrombonesforsixmonthswhilstIcomposedthepiece!Inallofmymusicforsolotrombone,aprimaryconcernhasbeentoexplorethemanyrelationshipsandparallelsbetweenthetromboneandthehumanvoice.Atthemostconventionallevel,thisconcernsthe

  • abilityoftheinstrumentto“sing”–thisissomethingallinstrumentalistsaimforinallcultures,yetthetrombone’ssimplestructureandregisterrenderitsvocalqualitiesparticularlyevident.However,therelationshipgoesfarbeyondtheproductionofasingingtimbre–itispossibletoproducemanyoftheshadingsofvowelandconsonantinflectioncontainedinspokenlanguage,aswellastheamplificationofeveryconceivablesoundthehumanmouthcanmakewithairalone.Inthecaseofthecontrabasstrombone,wearedealingwithaverylittleknown,andevenlessunderstoodmemberofthefamily–thereforeIhavefeltjustifiedinsimplifyingmymusicallanguage,tosearchaboveallfortheprimaryofvocalrelationships–tomakethisgentlegiantsing!Eachofthethreemovementsofthesonataiscentereduponanancientvocalpiece:inthe1stmovementthemedievalcarolGaudeteananonymouscompositionthatwasfirstpublishedin1582inacollectionofcarolsandotherreligioussongscalledPiaeCantiones,butisprobablyfarolder.The2ndand3rdmovementsbothusethemagnificentGregorianchantBenedicamusDomino:inthe2ndmovement,Imakeuseofa12thcenturytropewrittendowninScotland,byamonkprobablytrainedattheSchoolofNotreDameinParis.Inthe3rdmovement,Ireverttotheoriginalplainchant,probablyfirstwrittendowninthe6thcentury.Idonotusethisancientmusicasmaterialforcontemporaryvariation,butassubjectsforreflection,helpingtosearchoutthevocalnatureofthecontrabasstrombone.8:00PM JeremyWilson–Recital,MemorialChapel "RedlandsFantasia" EricEwazenAonemovementworkdepictingthediversityandgrandeurofthesouthwestCaliforniasettingofRedlands--withdistanttoweringpeaks,broadvistas,palmtreesanddesert.*worldpremiere*

  • FRIDAY,JUNE309:30AM AbbieConantandWilliamOsborne–Alethia,LoeweTheaterAletheia,forsinger/actress/instrumentalist,computercontrolledpiano,andquadraphonicelectronics.Performer:AbbieConantText:AbbieConantandWilliamOsborneMusic,set,lighting,anddirection:WilliamOsborne“Aletheia”iswrittenforsinger/instrumentalist,computercontrolledpiano,andquadraphonicelectronics.Theword“Aletheia”isoneofseveralancientGreekwordsfortruthandmeans“creatingaspacewheretruthcanappear.”Aletheiaisanoperasingerwhoisdelightedthatshehasbeenaskedtoperformforanoperagala.Sheonlyneedstogodowntothecourtyardandimpressthepeoplewithherperformance…butshereconsiders,desperate…shouldshereallysing?Whywon’therfeetmove?Doesshenotknowthatshelivesinacage,acageintheformofanironmaiden?Shepreparesherself,putsonhermakeup,looksoutthewindowandobservesthewealthypatronsandcommentsonwhatshesees.ButintheruinsofDetroittheoperahouseinthemiddleofthecityhasbeenneglected,everythinghascompletelycollapsed,agrandpianoliestippedoveronitssidelikeadeadwhale…Aletheiaasksherselfifherheartcansurvive.ShetriestotelephoneJeremy…aformerlover?Noanswer.Shespeakswithhimanyway…talktome…Sheplaysaninstrumentthatstandsatthesideofhercage…Sheisalone…or?Shehearsawomen’schoir…Madness?Hope?Death?Transcendence?Truth?Hopethathersongcanrevivetherustingcity?SynopsisAletheiaisexcitedasshepreparestosingforanoperagalainthecourtyardbelowherwindow.Shefeelswordsareaformofmagic,andthatifshefindstherightonestheywillkeepherforeveryoung.Shesometimestouchesthemaskaboveherheadandsingsfragmentsofasongaboutthemagicoftheater,“FollowmemylightasIwalkthewaysofblood…”Thereseemstobesoftghostvoicesinthepianothataccompaniesher.Shelooksoutthewindowtodescribetheguestsinthecourtyardbelow.ShetriestoreachherloverJeremywithhercellphonebuthedoesnotanswer.Shefeelsthebreezefromthewindowandhopesitwillraisehersongtothesky.Sherecallsthatthegalabelowisonlyforrichpeople,andwondersiftheywouldevennoticeifshedidnotshowup.Shesingsabouthowourballadsdreamusintobeing,eachwordetchingascene.Shesaysdreamsfallintootherdreams,andtellsofonewhereasharkrippedherbodyintwo,“AsIwatchedfadingintodeath,liquidsmokeofmyownscreams,rustyredgarlandingallaroundme.Iseeeachwordstickyandreddish,hemoglobingrammar.”Shewonderswhysheishavingtroublegoingdowntosing.Isitthepeople,themusic,herlack

  • ofcourage?“Musicitseemshasbecomeabithardofhearing,itshufflesaroundlikeaghostinanoldoperahouse.”Shehopeshertrombonemighthelpandbeginsplayingit,“somethingforopulentpatronswithnothingambiguousintheirlives,exceptofcourse,theirfinancialtransactions.”Herfreneticplayingisapasticheoffragments,“butwhatcanwesayinaworldsocompletelyunhinged.”Thetimesaretoodangerous,“SoI’llcontinuewithsomethingabstract,withnaryawordofprotest,ortheytakeourfundingaway.”Sheputshertromboneawayandvowsthatshewillsingunscriptedtruths,thatshewillhallowthisveryroomwithhersong.Shesingsaboutanoldwomansittingonthecurbwhogaveherdirectionstotheoperahouse,theruinwherepeopleusedtosing.Itlookslikea“gianthadpickedituptoseewhattreasuremightfallout,thenreplacedintheruinofmidDetroittolookforbetterbooty.Stageplanksrotten,plasterfallen,inthecornerliesacrippledchandelierpetrifiedwithdecadesofdust,abombedchurchofhopes.”Thentheoldladysang,“Howwillmyheartlive?Myvoiceisfullofdust.”Aletheiatakesheartanddecidestosingaboutherhero,theredheadedLeonardoDaVinci,andimaginesthatsheishavingafternoonteawithhim.“Handhimabanjoandhearhowhecavortsonthestrings.”Butevenhewouldask,“Isthereaserumagainsttheflowercrushers?Canyoudisarmthegrammar,thegrammarofthegrimrapers?”ShetakesherphoneandtriesagaintocontactJeremywhostilldoesnotanswer.Hashevanishedtoo(liketheoperahouse,)“Intothesplashlesspoolofsilentlosses,yourfinehands.Soundlesslysinging,dreaming,heart-strunggestures,keyboardhowls.”Asherthoughtsbecomemorefragmentedandinsecure,shehearsachoirofherownvoicesinging,“Wind,sand,andwaterwashoverme,unmovinginadesertplace.”Thepartyisending,butherfeetwillnotmove.Shetriestotakehope,“Singingistranscendence.Whatwillsaveusifnotsong?”Thechoirrespondsthatshe“willsingwithoutherrobe,nowaytoshuthereyes,aglisteningbodyinthelight.”ShepleadswithJeremytospeaktoherbutthereisonlysilence.Shetellsofanotherdream,theoperahouselongago,womeninhand-workedlace,fatbespattedtycoons,tightlycinchedwhalebonecorsets.Shehearsthedistant,sadariaofanoperadivaandseestheruinsoftheoperahousebeforehereyes.Inapileofrubbleanoldwreckofagrandpianoplaysthesadariaofourlastnightonearth.Whensheawoke,“thefaintsmellofcoalsmokeandhoneysucklelingeredinthegoneechoofthesoprano’shighC.”Shesingssomefragmentsfromhersong,“Followmemylight,asIwalkthewaysofblood…,”butsherepeatedlybreaksofftoexpressherdoubtsandexhortherselftocontinue.Shebecomesmoreimpassioned,“Timetoinhalethefetidairandsing,Timetobearmybreasttoeternity.Alostwarwithnoshotsfired.Heredowntownintheoperahouse,paidforbythepatriciansofrot,thepatronsofneglect.”Wordscantakehernofurther.Sheplaysalyricalsoloonhertrombone.Sheforcesherselftotryonelasttime,“Sing.Singawaytherustycities.Fillthemwithsong’sedgelessdreams.”Shetriestofindtranscendencethroughherlastsong,“Breezeblow,foolofmysoul.Playmeasyourcloudlesshorn.Pullme,sweepmeintoflight.Fillmewithyoursoftpowers.Blowmyarmsintowings.”

  • GoalsSomeofourgoalsduringour40yearsofworkinmusictheater:
1.Establishchambermusictheateraspartofthemainstreamrepertoire.
2.Movemusictheaterawayfrom19thcenturymelodramatomoderntheatricaltheory,smaller,blackboxtheater,existentialism,morephilosophicallycomplex.
3.Through-composedmusictheaterwithtopics,lengths,andpacingthatcorrespondtothemodernworld.
4.Musictheaterwithgenuinecharactersandcharacterdevelopmentcombinedwithdramaticsubstancethatallowsforgenuine,multidiminsionalacting.
5.Givemusic,text,andactingallequalimportance.
6.Aformofsingingthatallowsthewordstobeeasilyunderstood.
7.Workswherethewordsandmusicarecreatedbythesameperson,andwheretheyaresodeeplyintegratedthattheauthorshipofthetextispartofthecompositionalprocess.
8.Composersandperformersversedintheatricaltheory,theaterhistory,stagelighting,stagedirection,videography,Klangregie,computermusic,andwritingmusictheatertexts.
9.Multi-disciplinaryperformersadeptatsinging,playinganinstrument,acting,dance,maskwork,clowning,andpantomime.
10.Chambermusictheaterscoreswithsomuchtheatricaldetailthattheyfunctionasproductionbooks.
11.Musictheateradaptedtomoderneconomicconcepts,andlongprocessesofrevisionandexperimentation.
12.Musictheaterthatusesmodernmedia,suchascomputers,video,andsurroundsound.
13.Documentationourtheoriesofchambermusictheaterwithperformancesandvideos.KeyboardHowlsManypeoplehaveheardoftheterm“orchestraloperas,”likethosewrittenbyWagner,wheretheorchestraplaysanespeciallycentralrole.WithAletheia,wehavetriedtoexploretheideaofa“pianoopera”--theideathatthesoundsofapianoaresocomplexandrichthattheycannarrateastoryandbringacharactertolife.Inmostofourworks,wesetthevoiceclearlyabovetheaccompaniment,butwithAletheiawehavetriedtoimmersethevoiceinthepianoasifAletheiaherselfisaghostthatrisesoutofthehiddensonoritiesofitsstrings.Forthosewiththeearsandmindstohearthem,thenotesofpianosarefullofghosts.Eachpianohammerandstringisdifferent,asiseverytuningandeveryattackanddampermovement.Aworldofuniqueovertonesandinterferencesriseoutofeachnote.Eachonehowlsandshimmersandcriesinadifferentway,furtheramplifiedbytheuniquenessofeverysoundboard.Andthoseghostlykeyboardhowlshaveadialogwiththeacousticghoststhatexistineveryroom.Muchofthiseffectislostondigitalpianos,sowhenIcomposedAletheiaItriedtofindthosecousinghoststhatexistintheelectronicworld--soundsproducedbysimilarovertones,resonances,andinterferences.Ithenoccasionallyplacedthemalongwithsomeofthepianonoteswithanalmostimperceptiblesoftnesssothatghostsoundsweaveinandoutofanunderworldbetweenthepiano’snotes.Theghostsareoftenalmostinvisible,butsometimestheybecomeclearlyaudible.Andastheworkreachesitsclimaticpoints,theghostssometimesleavetheshadowscompletelyandroarintotheforefrontofthesonicworld.

  • Inthesameway,Aletheia’sbeingisalsoaghostrisingoutofthepiano.Toourminds,andinourmusicalworld,wethinkofRobertSchumannasoneofthespiritsbehindthiswork.Hewasespeciallyadeptatwritingmusicforthepianothatseemedtoderiveinpartfromtheghostsinthestrings.Weevenpicturehiminhisasylum,verysoberofmind,playingthepianoinatimelessandimmaterialworldwherethebeingofAletheiarisesoutofthestringsandhoversabovetheinstrumenttotellherstoryaboutoperagalasandthepatronsofneglectintheruinsofDetroit.Theghostsinpianostringsbecomeaninvocation,aformofmagicthatbringsaworldtolife,agentlebreezethatshehopeswillraisehervoicetothesky.Thisis,ofcourse,aninsaneidea,butmaybealittlelesssoforthosewhoheartheghostsinthenotesofpianos,thekeyboardhowls,thespectralworldofthepiano’sspecters,theephemeraloperasinRobertandClara’sghostminds.Itisinthemysteriesofresonancethatthespaceiscreatedwheretheghostsofthepianocanmaterialize.Similarly,altheiaisoneofseveralancientGreekwordsfortruththatroughlymeans"tocreateaspacewheretruthcanappear."Aletheiaisinsearchofthatspaceinadebasedsociety,aworldwhereshehopesthereisaspacefortheghostlywhispersoftranscendenttruth,aresonancethatwillbringherfreedom.1:30PM M.DeeStewart,CarlLenthe,AndrewGlendeningandJeremyWilson–Initiatives,LoeweRecitalHall“AdventuresinBrass”isaseriesofsixbrasssoloswrittenbyAnthonyPlogandcommissionedbyM.DeeStewart,formerDirectorofCAPVentures(CollegeAuditionsPreparation)attheJacobsSchoolofMusicIndianaUniversity,Bloomington,Indiana,USA.

    YouandMe(2015) GuntherSchulleràß

    MEANDYOUßàMeandYou:ADuetforTromboneandFlutebyPulitzerPrize-winningcomposer Gunther Schullerwas commissionedOctober 28, 2013 byShaun O’L. Higgins and Ann Glendening, and completed by thecomposerAugust29,2014.Tonight’sperformance[January11,2015]byDr. AndrewGlendening andCandiceGlendening at the FrederickLoewePerformanceHallattheUniversityofRedlandsmarksitsfirstpublicperformance.According to Higgins, he and hiswife (AndrewGlendening’s sister),haveknownthecomposerthroughtheirpatronageofmusicaleventsin thePacificNorthwest,particularly theNorthwestBachFestival inSpokane,Washington.“WhenGuntherretiredastheBachFestival’sartisticdirectorin2013,Iaskedhimifhe’dbeinterestedinworkingupatrombone-fluteduetwhichwe could gift to Andrew and Candy,whomGunther knew asresult of being the first recipient of the Loewe award atRedlands. I

  • wasnotawareofanyserious,originalmusic for tromboneand fluteand,tomysurprise,neitherwasGunther.Despiteaheavyscheduleofcommissions—as I recall, thiswasoneofnearly20onhisplate lastyear—Gunther liked the challengeofworkingwith this combinationofinstruments,aswellasdoingacommissionforahusband-wifeduo.He had just completed the first volume of his autobiography,dedicated to his late wife of 49 years, Marjorie Black, of whom hewrites lovingly throughout its pages. The result is a piececommissionedby a couple, for a couple, andwrittenby a composerwhowaspartofagreatcouple.“Priortocompletionofthecommission,allweknewaboutitwasitsapproximate length, and that Guntherwanted it to employ asmanycontemporary techniques for each instrument as possible. WhenGunthergotaroundtoentitlingthepiece,hecalleditMeandYou,andhestressedtheimportanceofthetwosetsofarrowsheincorporatedintothetitle.Hedidn’ttellmewhy,butIsuspectit’sbecause(asinagood marriage or partnership) the duet is playful, even flirty,sometimesalmostbickering,andhasitsmomentsofcomingtogetherandmovingapart.Ideally,thepiecewillfindahomeintherepertoireof both trombone and flute, and spur future interest in the unusualpossibilitiestheyofferincombination.”ConcertoafterMendelssohn(2017)(premiere) DavidDeBoorCanfield(b.1950)Notesbythecomposer:ConcertoafterMendelssohnwaswrittenbetweenDecember10,2016andJanuary26,2017.NotmanypeopleknowthatMendelssohnwasactuallyintendingtowriteaconcertofortheprincipal-trombonistofhisLeipzigGewandhausOrchestra,CarlTraugottQueisser,aprojectthatwashoweverneverrealized.CanfieldthoughtthatitwouldbefuntoattempttowriteatromboneconcertothatmighthavebornesomesimilaritytotheonethatMendelssohnwasplanningtocompose.GiventhatCanfieldlikestotakeadifferingapproachintheworkshewritesinhis"After"series,forthiswork,hetooktheshortbridgemovementthatseparatesthesecondandthirdmovementsofMendelssohn'sfamousViolinConcerto,andexpandeditintoanentirefirstmovement,moreorlessinthestyleoftheGermanmaster.Afteranear-verbatimquoteofthismovement,Canfieldexpandsanddevelopsthethematicmaterialalongthelinesof19th-centuryGermanpractice,incorporatingthemelodicgesturesandharmonicsequencesnormallyassociatedwiththisgreatcomposer,aswellasagoodbitofcounterpointtopayhomagetoMendelssohn'srediscoveryofthemusicofBach.Thusthefirstmovementiswritteninmodifiedsonataallegroform,withdivergencefromthatformcominginthedevelopmentsectionflowingimmediatelyoutoftheelaborationofthesecondthemeintherelativemajor.Afterashortcadenza,too,thereisnocoda,butonlyareiterationofMendelssohn'sbridgemovement.

  • 3:00PM TheKennyCycleII:SonataforBassTrombone,SecretHouseandNocturne,LoeweRecitalHallFromJohnKenny:Nocturneforsolotrombonist-narratorwithbrassquintetwascommissionedbySpanishBrassattheValenciaInternationalTromboneFestival2015.ThepieceisasettingofpoemsbytheScottishpoetBrianNisbet,fromhisfinalcollection“Nowyouknow”,whichwaspublishedinApril2015,shortlybeforehisdeathfromaformofmotor-neuronediseaseknownasMSA(multiplesystemsatrophy).BrianwasmarriedtotrombonistEmilyWhite,whowouldhavebeenperformingwithPandora’sBoxinValencia;insteadshenursedBrianinthefinalstagesofhisillness.BrianknewIwaswritingthispiece–Iwishhecouldhaveheardit,butatleastheknewsomeonewouldhearit,andthepremieratmadepossibleatValenciathroughthegenerosityandintensemusicalcommitmentofSpanishBrasswasoneofthemostintensemusicalexperiencesofmylife.Thepieceisdedicatedtotwodearfriends,andIamgratefultoAndrewGlendeningandthe2017ITFformakingitpossibletoworkonthepieceagainwithAmericancolleagues.ThisistheAmericandebut,and2ndperformanceofthepiece.Thisworkoriginallyformedthecentralpartofa90-minutemulti-mediamusictheatrepiececalledTheSecretHouseinvolvingdance,puppetry,livefilmmanipulation,ambisonicsoundprojection,theatreandmusic,commissionedbyDuffHouseatBanffinScotland,andpremieredthereonNovember16th2000.Thepiecewasconceived,composedanddirectedbymyself,choreographedbyEricTessier-Lavigne,andfilmedbyJohnMcGeoch.EightperformersledanitinerantaudiencethroughouttheentirespaceofDuffHouse,animposingbaroquemansioncommissionedbyWilliamDuff,LordBraco,fromthebrilliantScottisharchitectWilliamAdamin1735.Makinguseofstairwells,corridors,chambers,andeventuallyfocussingonextendedballetsperformedintwogreatdrawingrooms,ourattemptwastoexaminethecomplexrelationofhumantohouse,asshell,shelter,prison,projectionofego-aswellasexploringthehugevarietyofacousticsandatmospherespresentedbysuchamagnificentstructure.Thesetwodancetheatrepieceswerescoredrespectivelyformalebasstrombonistwithtwodancersandaduoforfemaletrombonistwithfemaledancer.Atthepremier,EmilyWhiteplayedtrombone,withballerinaPatriciaHines.SecretHouseismyfifthsonataforsolotrombone.Idecidedtoscoreitspecificallyforafemaleperformerforseveralreasons:firstly,thereareanincreasingnumberofgirlstakingupthetrombone,andconsequentlyoftopclassprofessionalfemaletrombonistplayersworld-wide.Secondly,muchoftheexistingcontemporaryrepertoirewhichmakesuseofvocalmultiphonicshasbeenconceivedforthemalevoice-itcanbetransposed,buttheresultanttonecolourisverydifferent.However,thisproblemisalsoawonderfulopportunity:thefemalevoiceusedwithinthetromboneisessentiallyadifferentinstrument,witharangeofpitchandtimbreunavailabletothemaleplayer.Thispiececouldbetransposedbyaman,buttheeffectwouldbemuchaltered.Thirdly,thetheatricalconceptofthispiecerequiresafemaleperformertoachievethedesiredpsychologicalandemotionalimpact.Themusicisintimatelyboundtothespokenword.Mythreepoemsarearesponsetothetaskofreflectingconceptsof“house”asshelter,womb,andicon.Thefirsttwoareintegratedintothemusic,thethirdnarratedunaltered-themusicwhichfollowsisareflectiononthepoemjustasthepoemisanhistoricandpersonalreflection.Thetrombonistmustspeak,sing,playvariouspercussioninstruments,andmakedramaticuseofspaceandphysicalgesture-aconsiderablechallenge.ItshouldalsoberememberedthatwhilstSecretHousewasalwaysintendedtostandasarecitalsolo,itwasoriginallyconceivedasaduowithdancer.ThechoreographyofEricTessier-Lavignetransportedthepieceontoadifferentplane.ThesonataisdedicatedtoEmilyWhite.

  • SecretHousePoems:1.Frosttanggags,reekofbacked-upfires;sootfallssilently,ablacksnow.Toweringbrickbuttress,winterwhitenedelderandhoneysuckleentwined….squeakandwhisper.Facecold…snuggledeeperintothiswarmnest…softbreathingofanother,sleeping: ….SisterUnabletoturn,stareout,up-endlessly,…..steelybluepoints….glitteringfirmamentNowthroughthetunnelofyearsIgrope,andlongtosee,totouchagainmychildisheternity Night-winter1958 -JohnKenny2.Bloodwarmcitadel,perfectedoveraeonswroughtofpartsminute,invisible,coalescedtoformthiswhole,yetdivisiblecontinuumofinfinitevariety:preciouswallsconcealthecrucible.

  • Aboxwithouthinges,keyorlid YetgoldentreasureinsideishidInvadingdeluge,thrust,squirmanddie……allbutone……Tenaciousalien,consumedandconsummatedIncomesI,welcomenotorwelcomebe,tolodgeandfeedatyourexpense;myrightordained‘foreyourmarchoftimebegan:Succubusorincubus,youaremypromisedlandParadox:theendof“I”thestartof“We”Yetthishallowedchamberisstillonly“Me”.

    ForKlausandSusanne,July20003. DarkHouse,Donegal.Stonesshapedbywindandice,LoadedcreelsonachingsturdybacksStumpedwearymilesPatienteyes,gnarledhands,Laideachonetorest,nocuttingtoolormortar.Roofribsofblackenedbog-oakReedthatchayellowlivingskin Onesmallwindowandadoor setinwallaman’sarmdeep ….DarkHouse…SootBlackenedkettleandcauldron

  • Straddleturffire,litbylongdeadhandRe-kindledfromthedyingembersEachday,adawn-redkissPasseddownthroughgenerationsThisflame’sflicker,lifebreathTocroft……Househometoman,beastandverminCrawler,spinner,wingedAndsingeratthehearthLove,birthanddeathrevolvingNeverplenty,onetimefamine,EndlesstoilyetalwayslaughterPipesandfiddlehidonrafter.………………………………Lifepatternsknitbyseasons’passingMyth,faithandfamilyformedafabricRichandselfsustaining-Unravelledattheflickofaswitch,IrresistibleimagesofanewworldFloodandoverpowertheold,whichPovertyheldatbay.So,nowthewhitewashedwallsbulgeout Thatchfallenin,growingtuftsandmoss.Hearthcold,peelingdoorajarSincethedaythelastofoldonesleft,feetfirst.Stonesrain-washed,sliding,settlingslowlyBacktoground-ahousenomore,Gentlemoundtocovermemory,Thepassingofatimeandofapeople

  • Havingpreviouslywrittensonatasforunaccompaniedtenorandaltotrombones,itwasalogicalprogressiontowriteoneforthebasstrombone.ManyofthefinestprofessionaltrombonistsIhaveknownhavebeenbassplayers,andasateacherIamcontinuallymeetinghighlytalentedyoungexponentsoftheinstrument-yet,sadly,whilstthesolorepertoirefortenortrombonehasexpandedenormouslyoverthepast30years,thereisstillverylittlechallengingsolomaterialwhichistrulyidiomaticforthebasstrombone.Therearewonderfulplayerswhoneedmusictointerpret:anewgenerationofbasstrombonistsshouldhavetheopportunitytoexploretheirpotentialasconcertsoloistsandcomposersneedtobeencouragedtowriteforthisexcitingmedium.Theavailablepaletteofsoundsandtechniquesspecifictothebasstromboneneedtobemorewidelyexplored:thispiece,anditssisterpieceOnBamburghBeach,aremyownfirstcontributionstothateffort.TheSonataisinthreemovements;the1stbeginswithasequenceofnotesderivedfromtheshapeofthetromboneitself-thatis,bymovingtheslideataslow,regularpacefromfullyclosedtofullextensionandback,andallowingtheembouchuretofallontonotesinacomfortablerelaxation/tensioncycle.This22-notepatternisusedatfirstwithgreatfreedom,becomingincreasinglystructuredintoamelodictheme,withaseriesofcommentaries.Theavailabilityoftwoindependentlyoperatedvalvesoffersthepossibilityofamultiplicityofglissandi,breatheffects,andmultiphonicsfarbeyondthoseofthetenororaltotrombones,andthereisapreliminaryexplorationofthesesoundsbeforetheopeningsequencereturns,leadingtoabriefcoda.The2ndmovementbeginsandendswithagentle,dreamymelody,followedbyafirstdipintotheworldoflipmultiphonics,beforeaboleroofsortstakesover.Theplayermovesinandoutofaderbyhatmuteonastand,tryingtoachievetheeffectofasplitpersonality:bassvampandleadvoice.Theuppervoicebecomesincreasinglywild,withitspartnerploddingsteadilyonbeneath,untilapointofexhaustiondemandsachangeofdirection-achievedbyamorecomplexexplorationoflipmultiphonicsoverdifferentvalvecombinations.Theopeningthemereturns,thistimedistortedbothbycontinualvalvetrillsofmicrotonalintervals,andbymovinginandoutofthehatmuteinwaves.The3rdmovementmakesconsiderableuseofbreathsounds,bothinvowelandconsonantforms.Elegiacinintent,itseemstobeharkingbacktosomething,butexactlywhatishazy:istherealongingfortheconventionalsoundofthetrombone,forthemeaningbehindthewordlessspeech-sounds,orforthemusicalstylesofabygoneera?Therearereferencestoallthreeideas,interruptedbyabriefbutviolentjazzbasedepisode;butthemovementcloseswithagentlefallingmelodyprojectedbackwardsthroughtheemptytuningslideofonesectionofvalvetubing,ratherthanforwardthroughthebell.ThepiecewasbegunofAugust111999,thedayonwhichsouthernEnglandexperiencedatotalsolareclipse,andcompletedonSeptember22nd.ItwascommissionedjointlybytheBritishTromboneSociety,InternationalTromboneAssociation,andWarwickMusic.IdedicatedittothememoryofRaymondPremru.

  • SATURDAY,JULY13:30PM JenBakerandJimMiller–SurroundSoundandResonancePieces,LoeweRecitalHallJenBakerSiloSongs-soundworldwithliveperformerandvideo(byJustinAndert)-istheculminationofalongsonicjourney,connectingmanyseeminglydisparatepartsofmyidentity:growinguponadairyfarm,witnessingthefarmgooutofbusiness(duetoBigfarming),pursuingamusiccareerasatrombonist,alovefornaturalacousticsandovertones,anobsessionwithcombinationtones(aswithmultiphonics),andafascinationwithsitespecificworks.Scoredfortrombone,silo(yes,thesiloisplayed!),harmonica,voice,andtromboon(bassoonreed+trombone),anoverarchingthemeofcombinationtonesisheardoneachoftheseinstruments.ComposedentirelywithinaconcretegrainsiloonthefarmIknewashome,this40-minuteworkblendssoundsofthesilowithseveralsmallpieceswrittenforitsresonantfrequenciesandnaturaldecay.Eachpiecewithitsowncharacterandinstrumentationservesasareminderofthemanyidentitiesthisfarm(andcountlessothersinourcountry)hashad-asymbolofsustenance,achildhoodhome,abusiness,livestockcomingandgoing,closure,emptiness,decomposition.Theaudienceissurroundedby4speakerswhichplaythepieceswritteninsidethesiloasoneseamlesswhole.Accompaniedbyliveperformanceandvideo,SiloSongsmarksthelongestandmostindepthworkIhavemade. Animus:ABrainstormfortromboneandliveelectronics(1996) LucaFrancesconi

    DreamingisalsoarelevantstateforFrancesconi’sAnimus(1995).Thatword,henotes,means“soul”inthesenseofwit,humor,andcharacter,andisbothsubjectandsourceofdreams.AstudentofStockhausenandBerio,Francesconihascomposedwidelyinallmedia–theLosAngelesPhilharmonicgavetheU.S.premiereofhisorchestralscoreCobalt,Scarlet:TwoColorsofDawnin2003–includingradiooperasinwhichhehasattemptedtorealizehisidealofa“theateroftheimagination.”

    Animusiscertainlytheatrical,anditsnon-narrativestrugglebetweenthebreathofanimatespiritandtheremorselessprocessingofinstrumentalmetalanddigitalcodeplaysoutonthestageofimagination.(FrancesconicreatedtheinteractiveelectronicsatIRCAMinParis,andthetourdeforcetrombonetechniquesforBennySluchin.Theworkhasbecomethefirstinaseries,withAnimusIIforviolaandelectronics,andAnimusIIIfortubaandelectronics.)

    Francesconiisalsoajazzmusician,andAnimushasthewildurgesofimprovisationandfreeexplorationevenasitbecomesincreasinglydefinedandfixed.Breathisthetiethatbindshumanandmetal,andthecomputermediatesandformalizestheoftenuneasyrelationship,hintingatsomefuturehybridwithitsownmixofexplicitcomedyandimpliedphilosophy.

    5:00PM 2017CramerChoir,MemorialChapelFoundry(premiere) Suter,AnthonyFoundrywaswrittenforthe2017InternationalTromboneFestivalattheUniversityofRedlands,andisscoredfortwelvetrombones(tentenortrombonesandtwobasstrombones).WhenIbeganthinkingaboutthepieceandthepotentialsounds,colors,andgeneralsonicmayhemonecouldcoaxoutoftwelvetrombones,IwasstruckbythevisualimageofsomanytrombonesonthestageofMemorialChapelhereattheUniversityofRedlands.Thatimagetriggeredaninterestinplayingaroundwiththespatialoutlay

  • ofthework--theperformersareallveryspecificallyorderedonstagesothatseveraldifferentkindsofspatialeffectsthathavebeencomposedintothepiececanberealized.Ofcourse,brassinstrumentshavealonghistoryofinteractingwithphysicalspace,frommilitarysignalstotheVenetianpolychoralrepertoire,sousingtheensembleinthiswayseemedanaturalextensionoftradition.Agreatdealofthisworkutilizesthisideaofthemovementofsoundacrosstheensemble--onecanhearanumberofmomentsintheworkwherethesoundwhipsaroundthesemi-circleinsomedirectionandbackagain,sometimestwolinescrossingoneanother,amongotherspatialandtimbraleffects.Theseeffects,thecolorsfromvariousmutesandextendedtechniques,andthemostlyfasttempocreate(atleastforme)asenseofanalmostmechanical,rigidbeauty.Thatissomethingofwherethetitle,Foundry,comesfrom--alotofmetalonthestage,loudsounds,andintense,seldomunrelenting,drivingenegry.Beethoven’sFuneral Beethoven,Ludwigvan Miserere Arr.Seyfried,IgnazJospehvon Amplius Trans.AndrewGlendening Beethoven’sGrabeTheMiserereandAmpliuswereperformedbyatrombonequartetinalternationwithamalechorusduringthefuneralprocession.Beethoven’sGrabewassungoneyearlateratthegravesidetomarkthesettingofthehseadstone.Thiseditionisbasedonthe1837editionofJ.G.Albrechtsberger'ssämmtlicheSchriftenüberGeneralbass,Harmonie-Lehre,undTonsetzkunst,editedbyIgnazvonSeyfriedlocatedintheHarvardUniversityLoebMusicLibrary’sRareBookCollection.Itisassumedthatthetrombonesperformedthesameversionasthechorusandthatthekeyboardpartsareforrehearsalpurposes.ItissuggestedthattheworkbeperformedwithtrombonequartetandasmallmalechorusalternatingtheMiserere(trombones)-Miserere(chorus)Amplius(trombones)–Amplius(chorus)followedbyBeethoven’sGrabesungbythechorus.Placingthechorusinabalconyprovidesastrikingcontrast.Ambitiousgroupmightconsiderstagetheprocession.AvisualaccountoftheprocessioncanbefoundinFranzStober’s1827painting“Beethoven’sfuneral.”8:00PM PremierePerformanceswithIanBousfield,JacquesMauger,IsabelleLavoie,Brandt

    Attema,JohnKenny,StuartDempster,MichaelMulcahyandtheUSAirForceBandoftheGoldenWest

    RedBoneLands(premiere) StuartDempster(b.1936)

    RedBoneLands(2017)forlarge(20to200+)tromboneensembleandaudience

    ComposedfortheInternationalTromboneFestivalattheUniversityofRedlands.TobepremieredinUniversityofRedlandsMemorialChapelon1July2017.Performerssurroundaudienceinalargecircle,orcirclesdependinguponnumberofplayers.Further,dependinguponnumberofplayers,abalconycontingentmaybeincludedaswell.LeaderleadsfromcenteroftheChapel.Thepieceemergesinrealtime.Pitchesreceivedfromleaderarehelduntilleaderfacesthemagainwithdifferentinformation(pitches,louder/softer,longer/shorter,etc.).Audiencemostlyholdsonepitch(atatimeiftherearechanges)inmultipleoctaves.Ifperformersfeel“abandoned”theyhaveachoiceto

  • changeoctaveorlayoutaslongasthesechangescanbemadediscretely.Thisalsocanincludeplayinganotherpitchthataperformermaywanttohear,butitisimportantthatthisbedonesparingly.Multiplex,fortrombone,UPICgeneratedsoundscore,liveelectronicsandDVDMusicbyJohnKennyFilmbyKennethMcQueenieFromJohnKenny:InSeptember2008IwasinvitedtobecomposerinresidenceattheXenakisInstitut,basedattheiconicarchitecturalworldheritagesite,theCouventdeLaTourette,designedbyLeCorbusier,whichstandsintheforestsoftheMontsLyonnais,France.ThecomposerIanisXenakisworkedasLeCorbusier’sarchitecturalengineeronLaTourette,andIwasabletouseoneofthefewremainingexamplesofhisrevolutionaryUPICsystem,adigitisingtabletdevelopedtoenablethedrawingandmappingofsound–toletthecomposerliterallydrawsound.Myinspirationwasdrawnfromtheangles,shapesandcontinuallyshiftingpatternsoflightandshadowinthatvast,emptyechoingstructureduringthemonthIspenttherewithonlyonecompanion,thesounddesignerStefanTiedje.Thequietwaspunctuatedbytherustleofleaves,birdcries,thedistantshuttingofadoor–bynight,moonlightfilteringthroughtheslitlikewindowsintolongcorridors,owlsandbats.Oftenweimprovisedfromtheearlyhoursuntildawn,combininginstrumentalsoundswiththecreakingandcrackingofthevast,emptystructure.ThesoundscoreofMultiplexisastand-alonepieceinitsownright,andithasalwaysbeenmyintentiontomakemultipleversionsofthepieceforvariousinstrumentsandensembles.ThetromboneversionwaspremieredwithPaulColemanassounddesigneratthe2014InternationalTromboneFestival,RochesterNY.FollowingconversationswithAndrewGlendening,IcommissionedtheScottishartistKennethMcQueenietocreatethefilmwhichhasbecomethethirdelementoftonight’sperformance.ThisversionreceiveditspremierattheAronaInternationalArtsFestival,ontheIslandofTenerife,inFebruary2017.TbonandJacques(USPremiere) FerrerFerrán

    I.TricksandJokesII.TheLovebetweenTbonandJacquesIII.TheychaseeachotherJacquesMauger,trombone

    MichaelMulcahy,conductorTomandJerryaretwoanimatedcharacters,acat“Tom”andamouse“Jerry”,whostagedalargenumberofshortfilms,created,writtenanddirectedbyW.HannaandJ.Barbera.TheserieswereproducedbyMetro-Goldwyn-MayerStudiosofHollywood.TheHanna-Barbera’sshortsaresignificantbecausetheywonsevenOscarsforAnimatedShortFilm.TheplotofeachshortfilmprincipallycentersonTom’snumerousattemptstocaptureJerryandthemayhemanddestructionthatfollows.TomrarelysucceedsincatchingJerry,mainlybecauseofJerry’sclevernessandcunningabilities,butsometimesalsobecauseofTom’sownstupidity.

  • However,thereisthiscomplicityamongthem,thisimpossiblelove,becausetheycouldneverexistwithoutoneanother.“Tbon”isthatinstrument,thetrombone,thatdescribesthestupidcat“Tom”andthemouse“Jerry”.Here“Jerry”issymbolizedby“Jacques”thesoloistwhoalwaysgetsroundthedifficultythatoffershimthetrombone,eventhoughitresitshim.“TbonandJacques”isaconcertinointhreemovements(1stTricksandJokes,2ndTheLovebetweenTbonandJacques,3rdTheychaseeachother)thatdescribesthesefriendlycharactersandletusimaginealltheadventuresandjugglingsofferedusbythesewonderfulcartoons.CommissionedbythetrombonistJacquesMauger,aninternationalsoloist,asamandatorypieceforthe“IerConcoursInternationaldeTromboned’Alsace”whichwasheldfrom11thto14thMay2017,inKingersheim(France).DedicatedtothetrombonistJacquesMauger,forhiswholesuccessfulcareerasapedagogueandtrombonesoloistwithallmyappreciation,admirationandaffection.Kirkfeld(worldpremiere) GrantKirkhopeIanBousfield,tromboneMichaelMulcahy,conductor

    [email protected]antKirkhope:IanandIfirstmetwhenwewerearound15yearsold.Webothplayedinourcountyorchestra,theNorthYorkshireSchoolsSymphonyOrchestra(Iwasatrumpetplayer).Ithinkwehititoffstraightawayasweweredefinitelyacoupleofcheekykids,ifyouknowwhatImean!WebothendedupplayinginRowntreeMackintoshBrassBandforawhiletooandIan’sDad,Trevor,conductedforawhile.WebumpedintoeachotheragainwhenwebothwentfortheShell/LSOScholarship.IgottotheareafinalsinManchestersoIwasprettypleasedwithmyselfbutthenIsawIanandIknewitwasallover!OfcourseIanwentontowinandtherestishistory.IsawhimagainwhenIwasattendingtheRoyalNorthernCollegeofMusicaround1983(ish?)IthinkIanhadjustgottheprincipalchairattheHalleOrchestra.ThenIguess30somethingyearswentbyaswebothwentaboutourlivesandlosttouch.Were-kindledourfriendshipduetohiswifereally.ShemailedmetosayitwasIan’s50thbirthdayandshewascollecting“stories”fromhisfriendsovertheyearsforabookforhimasagift.AfterthatwegotbackintouchandthenonedayonFacebookIgotamessagefromhimintypicaldryYorkshirefashion……..“nowthenGrant,IhadalistentoyourmusicandIthinkit’sgood,howaboutwritingapieceforme”.

  • IwasalittlebitunsureatfirstaseventhoughI’dwrittenalotofbigorchestralmusicI’dneverwrittenaconcertpiecebeforeandneverforasoloinstrumenteither.ButofcourseIlovedIan’splayingandofcourseIsaidyes.WehadaSkypecallsometimein2016andheaskedmewhatIthoughtI’dwrite.IhadathinkaboutitandIsaidsinceIliveinLAI’dliketowritea“Hollywood”trombonepiece.ImagineifJohnWilliamshadwrittenapiecefortrombone,that’swhatI’dliketowrite….well…..I’dcertainlytry!IthinkImighthavesaidStarWarsfortheTrombone…ha!!AnywaysheseemedhappyenoughandIgotonwithit!It’sbeenanabsolutepleasurewritingthispieceforIan.I’vesenthimMP3fileswithMIDImockupsofwhereI’muptooverthecourseofthelastfewmonthsandIcan’twaittohearhimplayitlive.Ihopeyoualllikeit!