Academic literature on the topic 'Trombone quartet'

The present article is devoted to the general characteristics of the historical process of the formation of the sonata for the trombone (or with the participation of the trombone) in the European music of the Renaissance – Early Classicism era. A particular attention in the research has been paid to the study of the national stylistic, which was the main driving force in the evolution of the trombone at the level of the chamber instrumental and concert genres. It has been noted that since the time of A. Willaert and A. and J. Gabrieli brothers, the trombone and trombone consorts have been the permanent components of the concerts da chiesa, and later – da camera. Due to its construction and melodic-declamatory nature of the sounding, the trombone was in good agreement with both the voices of the choir and other instruments. Gradually, along with collective (concert) varieties of trombone sonatas, solo sonatas with bass began to appear, and they reflected the practice of the Baroque-era concert style. The article reviews a number of trombone sonatas of the Italian, Czech, Austro-German schools, which later became the model for composers of the Newest Time, who fully revealed the possibilities of the trombone semantics and techniques in the sonata genre. The article has noted that the formation of the instrumental sonata in Europe was associated with the practice of concerts in the church, which was for a long time practically the only place where academic music could be performed. The term “sonata” was understood then as the music intended for the instrumental performance, which, however, was closely connected with the vocal one. Therefore, the first samples of sonatas with the participation of the trombone were mixed vocal-instrumental compositions created by the representatives of the Venetian school of the second half of the 16th century – A. Willaert and A. and J. Gabrieli brothers. It has been noted that the key and largely “landmark” composition opening the chronicle of a concert sonata with the participation of trombones was the sonata called “Piano e forte” (1597), where the functions of trombone voices are already beginning to the counterpoint independence, rather than to duplicating the vocal ones. G. Gabrieli is the creator of one of the most large-scale, this time exclusively trombone compositions – “Canzon Quarti Toni” for 12 trombones, cornet and violin – one of the first trombone ensembles based on the genre of canzone as the progenitor of all the baroque instrumental-concert forms. It has been emphasized that among Italian masters of the subsequent period (the early Baroque), the trombone received a great attention from C. Monteverdi, who in his concert opuses used it as the substitute for viola da brazzo (three pieces from the collection called “Vespro della Beata Vergine”). It is noted that in the era of the instrumental versioning, when compositions were performed by virtually any instrumental compound, the trombone was already distinguished as an obligate instrument capable of competing with the cello. Sonata in D minor Op. 5 No. 8 by A. Corelli is considered a model of such a “double” purpose. It has been proved that the Italian schools of the 16th – 17th centuries, which played the leading role in the development of the sonata and concert instrumentalism, mainly the stringed and brass one and the brass one as well, were complemented by the German and Austrian ones. Among the masters of the latter one can distinguish the figure of G. Schütz, who created “Fili mi, Absalon” for the trombone quartet and basso-continuo, where trombones are interpreted as instruments of cantilena sounding, which for a long time determines their use in opera and symphonic music, not to mention the sonata genre (introductions and slow parts). Along with the chamber sonata, which was written in the Italian style, German and Austrian masters of the 17th century turn to “tower music” (Tower music), creating their own opuses with almost obligatory participation of one or several trombones. Among such compositions there are the collection by G. Reich called “Quatricinua” of 24 tower sonatas (1696) for the cornet and three trombones, where, modelled on A. Corelli’s string-and-bow sonatas, the plays of a homophonic and polyphonic content are combined. The article notes that the creation of a solo sonata with bass for the trombone was historically associated with the Czech composing school of the second half of the 17th century. The first sample of such composition is the Sonata for the trombone and the thorough-bass (1669), written by a certain monk from the monastery of St. Thomas in Bohemia, where the instrument is shown in a wide range of its expressive possibilities. A significant contribution to the development of a trombone sonata was made by the Czech composer of the late 17th century P. Y. Veyvanovsky, who created a number of sonatas, which, despite the typical for that time performing versioning (trombone or viola da brazzo), were a milestone in the development of the genre in question. The traditions of the trombone sonata-quality genre in its three main expressions – da chiesa, da camera, “tower music” – have been preserved for a certain time in the era of Classicism. This is evidenced, for example, by F. Schneider’s 12 “Tower sonatas” for 2 pipes and 3 trombones (1803–1804). In general, in the classic-romantic era in the evolution of the trombone sonata genre there is a “pause”, which refers to both its collective and solo varieties. The true flourishing of the trombone sonata appeared only in the Newest time (from the end of the 19th century), when the instrumental music of a concert-chamber type declared itself not only as the one demanded by the public, but also as the leading, “title” field of creativity of a number of the leading composers. Among the instruments involved in the framework of the “new chamber-ness” (B. Asafiev) was also the trombone, one of the recognized “soloists” and “ensemblers” of the music from the past eras. The conclusions of the article note that the path travelled by the sonata for the trombone (or with the participation of the trombone) shows, on the one hand, the movement of the instrument to the solo quality and autonomy within the framework of “little-ensemble” chamber-ness (the sonata duet or the solo sonata without any accompaniment), on the other hand, the sustainable preservation of the ensemble origins of this genre (the trombone ensemble, sometimes in combination with other representatives of the brass group).

O presente artigo objetiva apresentar aspectos históricos e técnicos do trombone, relacionando-os à questão da tessitura do instrumento utilizado por Heitor Villa-Lobos em seu Choros n.º 4 (1926) para quarteto de metais com três trompas e um trombone. Desta forma, procura-se explorar as implicações práticas, nos dias atuais, do conhecimento obtido pela ótica tratadística, organológica e composicional.

Relato de experiência sobre a rotina de prática e atuação do quarteto de trombones Trombominas, no qual se propõe uma interlocução entre três eixos: performance musical, fenomenologia e a memória musical, enquanto função cognitiva. São descritos procedimentos sob o referencial fenomenológico, a partir das impressões subjetivas dos participantes do grupo, coletadas através de entrevistas. Busca-se explicar como a memória pode agir como uma chave na construção do sentido para os sujeitos da performance.

In 1939, during his studies at the Eastman School of Music, John La Montaine (1920-2013) composed a Scherzo for four trombones. The Scherzo was revised more than 60 years later, becoming the third movement of a three-movement trombone quartet completed in 2001. Interestingly, the same Scherzo subsequently appeared in two of his later works: first the final movement of his Piano Concerto No. 4 Op. 59 (1989) and 12 years later as the final movement of a three-movement Trombone Quartet. The thesis presents a detailed account of the compositional history of the Scherzo, its connection to the first two movements, and a performance edition of the Scherzo based on my collaboration with the composer between for five years from 2003 to 2007.

Despite the prominence of trombone quartets for student trombonists, there is a lack of pedagogical and performance technique literature related to the genre. Consequently, this project seeks to provide a much-needed resource that developing ensembles and instructors can use to hone their craft and enjoy a more productive quartet experience. This guide for trombone quartets will provide ensembles with fundamental knowledge concerning important aspects of trombone quartet performance such as rehearsal technique, collaboration, logistics, repertoire, and specific musical elements. This essay draws upon an analysis of chamber music literature and resources, interviews with prominent professionals, and the personal experience of the author. The research conducted for the essay informs the resulting guide for performance.

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Gilberto Gagliardi was the composer with the greatest number of works dedicated for the trombone in Brazil in the second half of XX sec. In 2003, two years after his death, the Brazilian Trombone Quartet recorded the album Tributo a Gilberto Gagliardiwith eighteen pieces, four of which written to the members of this chamber group. Considering this source as a starting point, we shall analyse the interpretation of these pieces by the group aiming to identify relevant technical aspects, present or not, in the original works. By making use of methodological tools, such as the visual analysis of manuscripts, the auditory analysis of the phonographic record, interviews with musicians, electronic publishing of sheet music and the use of audio software, we shall point out interpretive characteristics which will be compiled in a critical edition, thus offering one more source for the realization of new performances by Brazilian and foreign trombone quartets.
Gilberto Gagliardi foi o compositor com mais obras dedicadaspara o trombone no Brasil na segunda metade do século XX. Em 2003, dois anos após sua morte, o Quarteto Brasileiro de Trombones gravou o álbum Tributo a Gilberto Gagliardi com dezoito peças, sendo que quatro foramcompostas para os membros deste grupo de câmara. Partindo desta fonte analisaremos a interpretação do gruposobre estas quatro peças com o objetivo de identificar aspectos técnicos relevantes presentes, ou não, nos originais. Com o uso de ferramentas metodológicas, tais como a análise visual dos manuscritos, análise auditiva do registro fonográfico, entrevistas com os instrumentistas, editoração eletrônica das partituras e uso de software de áudio, apontaremos características interpretativas que serão anotadas em uma edição crítica oferecendo assim mais uma fonte para novas performances de Quartetos de Trombone brasileiros e estrangeiros.

Ida Gotkovsky, a student of Olivier Messiaen and Nadia Boulanger, composed for nearly every instrument, voice, and ensemble. Although Gotkovsky's Concerto for Trombone is a monumental work for the trombone it is rarely performed and recordings are scarce. There is a general lack of scholarly attention to the music of Ida Gotkovsky, however, the technical and aesthetic quality of her music merits further examination. Previous studies of Gotkovsky's music focused on the analysis of individual compositions. However, much more can be learned by examining a work within the context of her general compositional output. Gotkovsky's compositional style includes extensive musical self-borrowing. The goal of this project is to demonstrate melodic and textural similarities and differences within her music to inform performance practice and to establish interest in her music. The context in which Gotkovsky reuses her music is significant and can provide additional musical insight. An informed awareness of her extensive use of self-quotation familiarizes the performer with her compositional language in a variety of musical settings. Such familiarity with her musical style leads to an improved and artistically educated performance.

Sonatina pour trombone et piano / Jacques Casterede -- Beau soir / Claude Debussy -- Elegie, op.3, no.1 / Sergei Rachmaninov -- Arrows of time / Richard Peaslee -- Sonata / Jean-Baptiste Loeillet -- Quartet for trombones / Leslie Bassett.
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Thesis (D.M.A.)--University of Nebraska-Lincoln, 2006.
Title from title screen (site viewed May 5, 2009). PDF text: xi, 126 p. : music ; 2 Mb. UMI publication number: AAT 3344729. Includes bibliographical references. Also available in print, microfilm and microfiche formats.

A ansiedade na performance musical (APM) é descrita como uma apreensão persistente que compromete as competências performativas, tanto em performances a solo como em grupo. Para além dos sintomas fisiológicos, como aumento do batimento cardíaco, hiperventilação, transpiração ou náusea, está associada a sintomas de natureza cognitiva comportamental de impacto negativo na performance. Este trabalho pretende estudar a eficácia do treino de biofeedback em contexto de performance de música de câmara. Com um desenho do tipo quasi–experimental, foram selecionados 2 quartetos de trombonistas, sendo o quarteto (1) o grupo experimental e o quarteto (2) o grupo de controlo. Ambos realizaram apresentações públicas, antes e depois da intervenção. O grupo (1) foi submetido a um programa de 8 sessões bissemanais de treino de biofeedback, no intuito de verificar se contribuía para diminuir os efeitos da APM. Na avaliação da eficácia da intervenção foram aplicados pré e pós intervenção os questionários State Trait Anxiety Inventory (STAI), Kenny Music Performance Anxiety Inventory (K-MPAI) e Kessler Psychological Distress Scale (K10). Os resultados sugerem que este tipo de intervenção se revela favorável no que diz respeito à diminuição dos níveis de APM em contexto de música de câmara. São referidas algumas implicações deste estudo para a redução da ansiedade de performance quer em contextos de formação e ensino da música quer em contextos de prática profissional.
Music Performance Anxiety (MPA) is described as a persistent apprehension that compromises performative skills, both in solo and group performances. In addition to physiological symptoms, such as increased heart rate, hyperventilation, sweating or nausea, it is associated with psychological and cognitive symptoms of negative impact on performance. The present work intends to study the effectiveness of biofeedback training in the context of chamber music performance, following a quasi-experimental design, 2 quartets of trombonists were selected, quartet (1) being the experimental group, and quartet (2) the control group. Both made public presentations, before and after the intervention. Group (1) underwent a program of 8 biweekly sessions of biofeedback training, in order to verify if it contributed to diminish the effects of MPA. The questionnaires State Trait Anxiety Inventory (STAI), Kenny Music Performance Anxiety Inventory (K-MPAI) and Kessler Psychological Distress Scale were used to evaluate the intervention’s efficacy. The results suggest that this type of intervention is favorable with regard to the decrease of APM levels in the context of chamber music. Some implications of this study are mentioned for the reduction of performance anxiety in contexts of training and teaching of music and in contexts of professional practice.
Mestrado em Música