Voices
For Trombone Quartet
Duration: 8 min
I was once told (as a very impressionable young musician) that the trombone functionally covers three roles in just about all of Western Classical music. These roles, or voices, were 1) Voice/Wrath of God, 2) Background noise, and 3) Machinegun fire. I have had considerable time to think over this distillation of trombone orchestral repertoire and evaluate my own feelings about the trombone voice. This work is an effort to come to terms with my own experiences as a trombonist (proofing my ideas using a few well know trombone excerpts).
“Mythology” takes its name (somewhat) literally from one of the two excerpts that make up the core if this miniature. As I reconsidered the idea of trombone as “Voice of God,” I felt instantly compelled to reference Wagner’s “Ride of the Valkyries.” Aside from the fact that the opera to which this belongs has roots in German mythology, the trombone has a prominent voice that paints much of Wagner’s higher-power imagery in the work. This is coupled with snippets of Richard Strauss’ Till Eulenspiegel , adding a humorous, if not vexing, flare. I picture Wotan, ruler of the Gods, in a series of annoying interactions with Till Eulenspiegel.
“Transience” is defined as something or a state that is short lived or lasts briefly. It is often applied to positive experiences that seem to end too soon. I sought to illustrate this idea with constantly shifting chords that only briefly taking hold in an intelligible way. This is paired with structured forms that reveal two additional excerpts: 1) a paraphrase from Bruckner’s Seventh Symphony and 2) a more direct quote from Brahms’ First Symphony. This miniature points back to the trombone’s early involvement with church music. In this segment, I envision “Background Noise” as walking through a cathedral hearing distant music before passing openings that reveal the source to be a trombone choir, briefly being washed with the sound.
“Machine” is simply what it sounds like. Rough around the edges, highly rhythmic, and with an endless supply of energy. This miniature points to the trombone voice of “Machinegun Fire.” I make use of recurring bursts of sixteenth notes pounding their way forward. The final excerpt tying the piece together in this dance-like finish is taken from Ravel’s Bolero.