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Márquez/Gilliland/Morgenstern: Danzón No. 2
Arturo Márquez' Danzón No. 2 is probably the best known orchestral piece by any Mexican composer. An audience engaging fun and challenging work, for a long time I've wanted to adapt this for trombone and piano both because I thought my audience might enjoy it, and because I'm selfish and just wanted to play it. So I hope you like hearing it half as much as I enjoyed playing it!
Quesada: Symbios for Trombone, Piano, and Percussion
"For symbiotic relationships to be effective, it is necessary that the organisms that participate in the interaction share aspects of their identity, such as behaviors or adaptation mechanisms. However, the maximum degree of integration between the symbionts occurs when their union triggers a transfer of genetic material, causing the entities to merge into a new organism." Symbios for trombone, piano and percussion tries to use this principle for its composition. The work is based on a single motif that undergoes transformations throughout four sections. This motif is shared, mutilated, replicated and developed between the instruments to depict an environment that emerges from these transformations. The result of this symbiosis reminds us that the form of a new organism is never definitive and always transgresses its previous form to find an appropriate adaptation. Get your copy at www.imbrassworks.com For more about the composer: https://www.sebastianquesada.net About the performers: Ilan Morgenstern: www.ilanmorgenstern.com Kanade Tsurusawa: www.kanadetsurusawa.com Michael Jarrett: www.vancouversymphony.ca/artist/michael-jarrett/
Enrique Crespo: Improvisation no. 1
Live at the Brasilia Brass Festival in April of 2016 Uruguayan/German composer and trombonist Enrique Crespo wrote this unaccompanied for solo with his own playing in mind. Crespo's composition style is influenced by traditional western writing, 20th century avant-garde, Jazz, South-American and western popular music styles. Improvisation no. 1 is virtuosic, flashy at times, and attractive to a variety of listeners. Recorded using a handheld iPhone 6 by the amazing Karina Bharne.
Jacques Casterede: Fantaisie Concertante
Written in 1960, Fantaisie Concertante is an attractive and enjoyable work for both the listener and audience. Like other French compositions, this too spends more time in the high register, and only dips below the staff a handful of times. In performing this I tried to go for a lighter bass trombone sound, without sacrificing the characteristic breadth of the bass trombone's sound, and for clear, compact articulation. Please subscribe to my channel, and check out the rest of my UBC recital at: https://youtube.com/playlist?list=PLr56MAuQQHUgOZgfHIALM07FlBg0qUFMx Check out my solo recording It's Alive!! New Music for Bass Trombone at: https://youtube.com/playlist?list=PLr56MAuQQHUhCzpE5PgZhtThFEzYkFMkL Kindly visit my website www.ilanmorgenstern.com for more info, recordings, and the Trombone Exercise Library Project, a compilation of exercises I use complete with mp3 backup tracks.
Someone To Watch Over Me: Dedicated to Healthcare Workers, by Alessi, Yamamoto, Wendel, Morgenstern
Doctors Without Borders: https://www.doctorswithoutborders.ca/donate-now Free sheet music download: https://cherryclassics.com/products/geshwin-someone-to-watch-over-me-for-trombone-quartet?_pos=1&_sid=e03e46658&_ss=r COVID-19 is a reminder of shared humanity for many, and for some of our fragility as well. Without resorting to hyperbole, I stand in awe of those people who have taken it upon themselves to care for victims of this disease, at times without adequate protective equipment, and with much still unknown about how this virus spreads. This is the spirit with which I wrote this arrangement of George and Ira Gershwin's Someone to Watch Over Me, and I'm thankful that colleagues I admire so much, Joseph Alessi of the New York Philharmonic, Ko-ichiro Yamamoto of the Seattle Symphony, and Brian Wendel, my section-mate in the Vancouver Symphony, all agreed to record this arrangement with me. We were assisted by Jasper Davis who served as our AV specialist for this project, and the sheet music is available through Gordon Cherry'. I hope you enjoy listening to, and perhaps playing this arrangement as well. When you do so, I wish you to consider donating what you're able, in time, talent, or funds, to help our fellow humans at times of need whenever they arise. With Admiration and Love for Healthcare Professionals who are Watching Over Us Always. - Ilan Morgenstern, April 2020
Shadow Play, for Bass Trombone and Pre-Recorded Track
Shadow Play, by Gregory Youtz Available for purchase in PDF or Hard Copy at: www.ilanmorgenstern.com/newmusic Recorded by David Binder of Prestige Recording Services, Detroit, MI, April 2021 www.davidbinder.net/prestige-recording-services In Shadow Play, the Bass Trombone is placed in a meditative context, quietly drifting in thought surrounded with bells in a kind of dream state. As the bells become deeper, it follows them down into lower registers. The bells become more dark, less pitch-oriented, more metallic and the trombone becomes more chromatic and agitated. The title is a loose reference to Indonesian shadow puppet theater and sounds of gamelan instruments can be heard in the middle sections of the piece. I like the idea of the shadow puppet theater allowing the viewer to see both the shadow side (all black and white) as well as the colorful puppetmaster's side. The shadow play thus seems to ask the question: which side of the theater (and thus life) is real? The pitches of the aggregate are divided into three pitch sets: the first is based on the higher partials of the trombone’s natural Bb series: Ab, Bb, C, D, F; the second is a set based on E or C#: G, B, C#, E, F#; The final two pitches form a tritone: A-Eb. The melody line alternates back and forth between these pitch sets and the bells freely explore these with the trombone. The marimba sometimes imitates the trombone- the closet real interplay between it and the bells. Later in the piece, these three sets begin to overlap with each other, creating more dissonant collections and more chromatic melodies. In the end, the original Bb-based pitch set re-establishes itself for closure. Gregory Youtz has served as Professor of Music at PLU since 1984. His compositions include works for orchestra, band, choir, voice and chamber ensembles, and three operas including the 1991 Songs from the Cedar House about Native American-White interaction in the Puget Sound region, 2016’s Fiery Jade-Cai Yan, (libretto by Zhang Er) based upon the life of a historical Han Dynasty Chinese woman and 2021’s Tacoma Method (libretto by Zhang Er) about the expulsion of the Chinese from Tacoma in 1885. A member of the Pacific Lutheran University Chinese Studies Program for many years, Youtz has done research on Chinese music, instruments, and the use of Chinese musical techniques applied to western instruments, and has a list of compositions based upon Chinese ideas, from poetry and painting to history and philosophy. Other pieces stem from his research into music from Trinidad and Tobago and Indonesia.
Astor Piazzolla: Le Grand Tango for Trombone and Piano
When David Gilliland approached me with the idea of playing Piazzolla's Grand Tango I got a little concerned: David has played with me a lot over the years and has seen a lot of my tricks up close, so I was worried he might stray from the original too much to showcase extended techniques and make the entire thing impossible to perform live...I of course worried for nothing: David's writing is true to the original but also sits great on the trombone...EXCEPT FOR THE LAST 8 MEASURES! Boy did I sweat those, but it was totally worth it. GREAT chart, David (and Mr. Piazzolla wherever you are)!
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