Solo Trombone

Author(s): Trevor Herbert

Source: The Musical Times, Vol. 127, No. 1722 (Sep., 1986), p. 502
Published by: Musical Times Publications Ltd.
Stable URL: http://www.jstor.org/stable/964601
Accessed: 08-12-2016 02:23 UTC

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one
one of the
ofworks
thethatworks
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greatestachieved
populari- paniment
paniment
greatest version version
is reviewed here)
populari- is is
reviewedscholarly
scholarly
the most edition
here) edition
which
is the canwhich
be used for
most can perfor-
be used
ty
ty in in
Bottesini's
Bottesini's
time, as witness
time, the many imaginative
imaginative
as witness the of a number
many ofofaworks
numberrecently of
ming
ming works
- and
- and
care has recently
care
been has
takenbeen
over page-turns.
taken over
autograph
autograph copies hecopies
made and hetwo ormade
more and two or
published
published more
by French
by composer
French(Leduc/United,
composerBoth
Both (Leduc/United,
composers
composers
present anpresent
additionalan
problem,
addition
piano
piano arrangements
arrangements
under the titleunder
Emma the title
?12.20).
?12.20). Emma
It is technically
It is technically
demanding, blending
demanding,
in
inthat
that
theythey
wrote forblending
wrote
instruments
for instruments
with more than w
Gavotte
Gavottethat survived
that several
survived
editions. several
The Alla editions. The
conventional
conventional Alla with
notation notation
aleatory passages,
with six
six
the strings
strings
aleatory - Coste- for
Coste
passages,a seven-string
for
thea seven-strin
one, Mertz
Mendelssohn
Mendelssohn concerto isconcerto
perhaps best confined
is perhaps whole
whole
bestbeing being
musically musically
confined coherent. coherent.
for
for a ten-string.
a ten-string.
WynbergWynberg
transposes all transpose
impossi-
to
tothethe
practice
practice
room: it is room:
a useful study
it piece, The
The
is a useful moremore
study radical works
piece,radical
emanating
works
from the ble
blenotes
notes
emanating up anup octave
anbut
from octave
adds thebut
the octaveadds
sign th
but
buthas has
neitherneither
the variety the
nor thevariety influence
interest of norinfluencecast by cast
the interest Berio's
of Sequenza
by Berio'sV (1966)
in Sequenza
inbrackets
brackets V relying
ratherrather
than (1966)
than
on later
relying
editions on
some
someof the
ofother
the extended
other concerto
extended
movementsconcerto
seldommovements
seldom matchmatch
Berio's achievement
Berio's in presen-
achievement
with
with their
their in presen-
silent silent
corrections.
corrections.
Each composer runs
Each c
Bottesini
Bottesiniwrote. Sadly,
wrote.the cover
Sadly,
of my the ting
reviewcovertingsomething
of mysomething
more than a more
review disparate than
series to
of a several
disparate
toseveral volumes
volumesseries
(nine ofincluding
for Coste,
(nine for Coste,
duos i
copy
copy onlyonly
just survived
justthe
survived
investigation,the
but investigation,
experimental
experimental butThis
patterns. patterns.
is the case inThis and
and
Ronald isguitar
guitar
the and oboe
caseand
inworks,
oboe tenworks,
Ronald for Mertz,ten
with for
at
at?12?12
who should
whocomplain?
should complain? Caltabiano's Sonata for solo trombone duos
duos andand
Schubert
Schubert
song arrangements),
song arrangem
which
All
All these
these
editionseditions point to (Meirion,
point to the continued ?4.30) which is carefully notated
the continued need
needand
notnot
be fully
be itemized
fully here;
itemized
suffice it
here;
to say suf
renaissance
renaissance of the double
of thebass which
double
was an bass
in- extremely
which was difficult.
an in- that
It displays plenty ofthat
com-thethe
priceprice
is extremely
is extremely
reasonable, varying
reason
strument
strument whose mere
whosepurchase
mere
was sufficient
purchase positional from
from
craft but one wonders if the effort
was sufficient of?3.25
?3.25
for a slender
for a volume
slender of 15volume
pages to o
to
toensure
ensure
employment
employment
in 1945. Today itin 1945.preparing
is not Today itfor is the
notnine minutes of technical
?7.75
?7.75 forfor
a hefty
a hefty
book of duets,
book each
ofpart
duets,
totall- eac
unheard
unheardof for of
prospective
for prospective acrobatics
students to auditionstudents justified by the result. Gerarding
toisaudition ing 40 40
Vic- pages.
pages.
The music
The is variable
musicbut is on
variabl
the
at
atthethe
musicmusic
colleges with
colleges
a Bottesiniwith
concerto; tory's Centaur
a Bottesini concerto;for trombone and whole piano
whole wellwell
worthworth
while. Both
while.
composers
Bothwerecom
he
hewould
would
have been
have
delighted
been to know
delighted
that he (Vanderbeek
to know that he ?5) benefits from aactive
& Imrie, active
morein thein years
the 1830-
years 50 when
1830- guitar
50music
when
survived
survivedas one of
asour
one
mostof
important
our com- traditional approach.
most important com- It is eminently playable
was
wasat at
its most
its most
exciting exciting
and before its
andinexplicable
before i
posers. RODNEY SLATFORD decline.
decline.
and its lack of pretentiousness does not disguise Also Also
inexplicable
inexplicable
is Wynberg'sis dating:
Wynb
a sound, fluent technique and sensitivity Mertz
Mertz
to the dieddied
in October
in October
1856, yet apparently
1856, yet
idiom. TREVOR HERBERT played
played before
before
Ludwig Ludwig
of Bavaria who
of wasBavaria
said w
to
tobebe'incredulous'.
'incredulous'.
So he might
Sobe heif the
mightdate b
given
given here,here,
1885, is1885,
correct.
is correct.
Solo trombone Like
Like hishis
friend
friend
Sor, the Sor,
Spanishthe
guitarist
Spanis
Dionisio
Dionisio Aguado
Aguado
left his homeland
left his andhomeland
settled
The reissue of two of the more popular works 19th-century guitar in
inParis
Paris as a recitalist
as a recitalist
and composer.
and Wynberg
compos
for solo trombone, Serocki's Sonatina for trom-
has
has prepared
prepared
facsimiles
facsimiles
of a selection
ofof a
hisselection
works
bone and piano of 1955 (Moeck/Universal,In the early 19th century, when the laws of
(Chanterelle/Fentone,
(Chanterelle/Fentone, ?5) with a note
?5) onwith
his lifea not
?3.70) and Bernstein's brief but effective Elegycopyright hardly existed, version could succeed
and
and a critical
a critical
commentary;
commentary;
the works chosen
thein- work
for Mippy II of 1950 (Boosey, ?1.25), together version of works for the guitar from rival
clude
clude a Fandango
a Fandangoin imitationin of
imitation
that in one of of t
with a responsible arrangement (by Michaelpublishers. Today's editor is faced with much
the
the Boccherini
Boccherini quintetsquintets
and Aguado'sand own A
D.Clack) of Wagenseil's Trombone Concerto research and difficult decisions. Now that Brian
editing
editing of Sor's
of Gran
Sor's Solo.
GranApart Solo.
from the Apart
fact f
(Boosey, ?3.25) for tenor trombone (the originalJeffery has issued the complete Sor and is issu-
that
that thethefacsimile
facsimile
is for theis most
forpart
theverymost
clear, pa
calls for an alto) and piano, highlights the com-ing the complete Giuliani, both in facsimile, who
and
and thatthat
the anthology
the anthology
is extremelyis inexpensive,
extremely
parative paucity of recent works in the genrewill tackle the lesser-known guitar composers?
this
this publication
publicationserves well
serves
to evaluate
well other
to newevalu
of any substance. The trombone has been usedMertz and Coste, among others, seem to have
editions
editions and editors.
and editors.
For instance,
Fortheinstance,
Trois ron- t
in a wide variety of functions and idioms infound a home with Chanterelle/Fentone, edited
dos brillants can be had from Moeck/Universal
Western music since the 16th century but theby Simon Wynberg, who gives us the complete
(?8.75), edited by Peter Leube, who gives a note
number of solo works of any real quality isworks of interest of each. Generally his editorial
on the composer but none on his editorial policy
relatively low. Serocki's trombone music figures policy is sound: he gives us one of the original
(which appears to be simply to add his own
prominently in the repertory in a way whichversions but adds a critical commentary with the
fingering and to modernize the notation); whereas
that of many of the vaguely modernist writersvariant readings found in other MSS and editions
Ruggero Chiesa, editing the same work for Suvini
of the past 30 years has failed to do. Jean-Michelofthe time, at the same time sensibly adding any
Zerboni/Elkin (n.p.), makes sure we are warned
Defaye's Trombone Concerto (the piano accom-necessary fingering in brackets. The result is a
of every editorial change or addition. Aguado's
own fingering was sparse; Chiesa distinguishes
it from his own by adding little dots above the
numbers, which seem a good idea though it looks
One
One of the
of U.K.'s
the most
U.K.'s
prestigious
most festivals horribly
prestigious
has a staccato. An unpretentious
festivals has contribution
a
French
French themetheme
for 1986 for
and features
1986artists
andto and
features
our stock of Aguadoartists
is Giuseppeand
Gazzelloni's
performers
performers of international
of international
repute. editing repute.
of the Fandango op. 16 (Berben/Fentone,
Jean
Jean Guillou
Guillou
and Heleneand Helene?3.50),
Delavault, where editorial policy is set out in very
Delavault,
Orchestre
Orchestre National
National
de Lille, Yande
Pascal
Lille, small
Tortelier,
Yan print in Italian: Tortelier,
Pascal too modest, for the edi-
The
TheDeller
Deller
Consort Consort
plus Ballet Rambert
plus Ballet tion stands
and up to scrutiny, with
Rambert and original reading
given in footnotes.
3irmingham
3irmingham RepertoryRepertory
theatre company theatre
head a company head a
Footnotes, editorial policy and critical com-
full
full programme
programmeof concerts,
of plays,
concerts,
cabaret, plays, cabaret,
exhibitions,
exhibitions, excursions
excursions
and talks. mentary talks.
and are, however, dispensed with in the new
Karl Scheit DIY editions, for Professor Scheit
rhere
rhere are two
areFestival
two cafes
Festival
and meeting
cafesplaces
and meeting places
simply includes a reduced facsimile of an early
and
anda complete
a complete
Fringe Festival
Fringe Festival
edition with his own modern one. Giuliani's
op. 107, Variations on a Theme of Handel (Uni-
versal, ?2.60), is the latest addition to this series.
BOX OFFICE: Scheit claims that the facsimile (reduced but legi-

28th September
September Forwood Booking,
37 Palace Street, Canterbury, Kent.
ble) is of the first edition (Hofmeister, 1828) but
Thomas Heck predates this with a Ricordi edi-
- 18th October TEL: 0227 455600 tion of 1827. This apart, the solution does seem
to be one that will please most people most of
the time. MARY CRISWICK

502

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