Gustav Holst - The Art of the Trombone, Vol.1 [CD]

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The Art of the Trombone Works for Trombone and Organ The trombone stop on the pipe organ canproduce one of its most powerful, strident and intimidating sounds, Like allthe stops that take their name from orchestral instruments, and there are many,it caricatures only a single tone-colour of that instrument, in this case: low,reedy, penetrating, inexpressive and inevitably loud, If this recording were tobe based on such a conception of the trombone it would be hard listeningindeed.By contrast, the trombone proper, in thehands of the right player, can be mellifluous, eloquent and expressive. Thechoice of music on this recording is designed to illustrate all theseattributes, along with the instrument's flexibility and agility, qualities notalways apparent when heard in its usual context of symphony orchestra oropera-house.The trombone, like the organ, has alwayshad an ecclesiastical association, from the fourteenth-century Messe deNotre Dame by Guillaume de Machaut, through Gabrieli, Mozart and Beethovento the Grande Messe des Morts of Berlioz. These composers certainlywould have combined the two instruments as part of a large ensemble, but notuntil the nineteenth century was it presented alongside the organ in soloconcert works. Surprisingly few of these were of specifically sacred natureeven though they would clearly receive most of their performances in church.Only two of the eight works included here, those of Liszt and Krol, havespecifically religious titles.Gustav Hoist started his musical career asa trombone player and wrote wonderfully idiomatic music for the instrument,both in his orchestral works and the Duet for trombone and organ. A veryearly work, it was first performed in 1895, with a local amateur player ratherthan Holst himself as soloist, but with his father, Adolf von Holst at theorgan, The lack of any music that we would now recognise as Holstian revealsjust how much his individual musical voice was to develop in the succeedingyears.Ernst Schiffman was a prolific andworkmanlike composer for all instruments, especially the winds. His Intermezzofor trombone and organ responds to the challenge of differentiating thetone colours of the trombone and organ which, being so similar in theiracoustical properties, have a natural tendency to merge a little too well. Itcontrasts gentle, unpretentious lyrical passages with sections based on anevocative horn-call motif.Otto Hoser's Romanze illustrates aninstrumental genre that survived during the nineteenth and well into thetwentieth centuries. In what the English would now call drawing-room music, asentimental melody is superimposed on a well-tried harmonic framework andpeppered with varying degrees of bravura ornamentation. It was embraced withenthusiasm by the brass and military band movements, where it was furtherdeveloped into much larger scale air-varies and fantasias. The cadenzais by Alain Trudel.Alexandre Guillant was a noted organist inFrance and his Morceau Symphonique was one of very

Duet For Trombone And Organ

Intermezzo, Op. 53

Romanze (Cadenza: Trudel)

Morceau Symphonique (Cadenza: Trudel)

Chorale (Kirchenordnung Braunschweig)

Hosannah

Sinfonia Sacra 'Jesu, Meine Freude', Op. 56

Fantasia, Op.58

I Moderato

II Adagio

III Vivo (Finale)