The Rise of Tenor Trombone Concerto Repertoire
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The Rise of Tenor Trombone Concerto Repertoire Charles Andrew Sutherland Masters of Music Thesis Paul Compton April 25, 2013 Ever since the first appearance of the trombone in the early 14th century, its popularity has grown. As the use of the trombone grew in the orchestra, composers started to recognize its potential as a solo instrument. Even though its popularity was growing, the trombone’s repertoire was limited. Despite the fact that composers such as Leopold Mozart and Nikolai Rimsky-Korsakov wrote solo trombone literature that is still part of the standard repertoire, the composition of trombone literature flourished during the mid-twentieth century. Particularly in the years following World War II, composers began writing concertos for trombone with greater frequency. In fact, three of the most significant concertos in the repertoire were composed during that time. These compositions include Gordon Jacob’s Concerto for Trombone, Henri Tomasi’s Concerto for Trombone, and Ernest Bloch’s Symphony for Trombone and Orchestra. The purpose of this paper is to explore the development of the trombone as well as the particular events and influences in history and the lives of the composers that led to the composition of these three significant pieces. Furthermore this paper will include a discography of these three pieces as well as a comprehensive list of trombone concertos written post World War II. According to scholars, the trombone most likely originated in Germany.1 It didn’t take long for the trombone to start appearing outside of Germany. “The trombone, though not yet universal, [becomes] an accepted fact of the musical scene in the first few decades of the fifteenth century.”2 Around 1407, the trombone appeared in a performance in Siena, Italy played by German musician Angelo d’Arringo. The clerk described it as a tuba grossa (Latin: large trumpet).3 1 Will Kimball, “Trombone History Timeline,” Will Kimball Trombone, http://www.kimballtrombone.com (accessed February 15, 2013). 2 Ibid. 3 Ibid. 1 The instrument has always been called trombone in Italy and Posaunen in German- speaking countries: both terms are derived from words meaning “trumpet”. The trombone has a small solo repertory that has survived from the 17th century, including a piece called La Hieronyma (1621) and another by Francesco Rognoni Taeggio Selva de varii passaggi (1620). Towards the end of the 17th century, the trombone began to fall out of use in many European centers where it had been an established feature of musical life for almost two centuries. The evidence for this descent is unambiguous as records show a decline in the hiring of the trombone. There are several reasons why the trombone fell from use. The most obvious is a change in the taste which favored more of a homogeneous sonority, particularly after the fashion of the string orchestra of the French court. Another reason for this was the decline of the practice of doubling the vocal lines with the cornets and trombones; because this was the primary function of the instrument, trombones were less needed when the practice became less favored. Many sacred choral works contain trombone obbligatos, and there is a small but attractive solo repertory from this time period. It is no accident that it was here, in the hands of Gluck and Mozart, that the earliest developments of the modern idiom took place. In the mid-18th century the trombone was primarily being used in the church and small ensembles to double the voices. The trombone did not become part of the orchestra until the late 18th century from composers such as Gluck and Mozart. Gluck wrote for a trio of alto, tenor and bass. Mozart used trombones only in his operas and sacred works; his dramatic use of the instrument is particularly well exemplified by the scene in Don Giovanni, and he provided a notorious solo for the trombone in the Tuba Mirum section of his Requiem. The romantic composers considered the trombone capable of expressing a broad range of emotional situations; Berlioz said the instrument possessed “both nobleness and gradeur’ and had 2 all the deep and powerful accents of high musical poetry, from the religious accent, calm and imposing…to wild clamours of the orgy.”4 He included a great solo in his Symphonie Funèbre et Triomphale. In the 19th-century composers often use the trombone to reinforce a tutti passage and for the background harmonies in a soft passages. In the dance band music of the first half of the 20th-century, composers would use the trombone in cantabile passages which dance band trombonists such as Tommy Dorsey executed so well. Others like J.J. Johnson, known for his influence on Bebop and Edward “Kid” Ory, who was known for his tailgate music, helped influence what the trombone was capable of. Jazz trombonists, like these individuals, have explored the expressive potential of irregular attacks, glissandos, microtones, wide variety of mutes, and multiphonics, which revealed a greater range of timbres than what was previously used by classical composers. Throughout the late 18th century composers would continue to assemble musicians for a performance, typically at an Academy, which would feature their own compositions. In 1781 the Leipzig Gewandhaus Orchestra was organized from the merchant’s concert society to perform works at private and social events. This trend caught on and began the formation of civic symphonies that would continue into the 19th century. In 1815, Boston’s Handel and Haydn society was founded; in 1842 the New York Philharmonic and the Vienna Philharmonic were formed. From then on, hundreds of orchestras around the world began to form and the composers began to push the boundaries of the modern orchestra.5 Two major composers of the 19th century that influenced and gave growth to the modern orchestras are Ludwig van Beethoven and Richard Wagner. Beethoven carefully planned his 4 Anthony C. Baines and Arnold Myers, “Trombone,” in The New Grove Dictionary of Music and Musicians, Second Edition. ed. J.A Fuller Maitland (New York: Macmillan Publishers Limited, 2001). 5 Bowen, José Antonio (2003). The Cambridge Companion to Conducting. New York: Cambridge University Press. ISBN 0-521-52791-0. 3 instrumentation to expand the particular timbral effect in each of his symphonies. He had four horns in Eroica Symphony and the first ever use of three trombones was in the fifth symphony to support the emotional power of the storm and sunshine, as compared to the early symphonies that used two horns and one or two trombones. Beethoven’s instrumentation is what set the standards for modern day orchestras. Wagner was the next major influence on the expansion and role of the symphonic practice. Wagner changed the size, importance of tempo, dynamics, timbre, and role of the principal players. In Die Valkyrie, he was able to show the world what the trombone was capable of. He demonstrated that the trombone could portray great power. With his Bayreuth Orchestra, Wagner’s works for the stage were scored for an extraordinary system of complexity of sound and led the way to modern orchestra. In the early 20th century, symphony orchestras were larger, better funded, and better trained than ever before. Composers were given the freedom to compose larger and more ambitious works.6 By the time of Mahler and Shostakovich, orchestras could support the most 6 New York Philharmonic. A Short History of the Symphony Orchestra. Last modified 1999. Accessed March 15, 2013. http://www.nyphilkids.org/lockerroom/history_f-r.html. 4 enormous forms of expression such as Mahler’s Symphony No.3, with its large scale trombone solo. Mahler Symphony No. 3, Trombone solo Effects of World War II: Before the war, big bands were the most popular forms of music in America and were growing in popularity in Europe. The big names were Artie Shaw, Tommy Dorsey, Duke Ellington, Count Basie, Benny Goodman, and Glenn Miller. These artists were producing songs such as In the Mood, I’m getting Sentimental over you, Begin the Beguine, Stardust, It Don’t Mean a Thing if it Ain’t Got That Swing, and many more. Due to a lack of money people could no longer attend live performances at venues like Carnegie Hall, the Lincoln Center or even the Cotton Club. The American government and its broadcasting companies wanted to build a sense of morale and support for the troops and keep the people who were not in the war at ease. In order to do this they hired musicians to play for radio bands and symphonies. This allowed the radio stations to play more music which reached both the people at home and the fighting troops. The music could bring them laughter, joy, it could calm their spirits, and united them in a way few other things could. Organizations like the 5 NBC and CBS symphonies were formed. This endeavor established a new and unique relationship between a commercial entity and classical music. This allows the orchestras to perform for the public, who didn’t have enough money to listen to a live performance, due to money that was going to the troops. Also, the orchestral organizations could show their support for the troops fighting over sees.7 Hollywood started to have the ability to provide music in their silent films. They started to hire studio musicians to provide music to films such as, Don Juan (1926) and The Jazz Singer (1927). The Golden Age of Hollywood coincided with the great era of American songwriting, with many of the same composers like Irving Berlin, Gershwin, Porter, and Rodgers who wrote songs and scores for musical theater and movies. Many artists participated actively in patriotic activities and would compose patriotic works.